Guest Faculty of the Thematic Residency ‘Blueprint for Happiness’ at The Banff Centre, Canada, 27 July–8 August 2015
Thu, Jul 16 2015
(First) Views from the Vistas restaurant in the Sally Broden Building; (below) View from the Lloyd Hall building.
As Guest Faculty of the Visual + Digital Art thematic residency ‘Blueprint for Happiness’ – a five week programme starting July 13 led by British artists Heather and Ivan Morison – Latitudes will join the group in the middle two weeks of the programme (27 July–7 August).
Participants of the Blueprint for Happiness Thematic Residency.
Some art-as-research tips for reference on one of the Glyde Hall fridges.
Latitudes will also undertake studio visits with each of the 11 resident artists, participate in field trips and organise a closed-door evening film programme with films by Spanish artist Emilio Moreno, Irish artist Sean Lynch and Australian artist Nicholas Mangan. The three films share a focus on public sculptures, monuments or buildings that have been displaced from their original context.
Ignasi Aballí, AM-4826 Digital Anemometer from Taking Measures (2009). Installation of 9 measuring devices. Courtesy of the artist and Galería Estrany–De la Mota, Barcelona.
Tuesday 28 July 2015, 16–17:30h: Public Lecture, Presentation of Latitudes’ curatorial practice as part of the Visual Art Lecture Series. Jeanne and Peter Lougheed Building, 204. Free event.
For the Public Lecture Latitudes will forgo a chronological account of its projects of the last decade, and instead attempt various transects through its curatorial projects determined by raw materials and their transformation. From the zinc which led to an Esperanto micro-nation, to the air of a Beijing shopping centre, or the dead trees of printed news, Latitudes will try and join some traits and ideas around extractive modernity, obsolescence and the carbon cycle.
Music huts around campus.
The creek around The Banff Centre.
RELATED CONTENT:
- In conversation with the artist Nicholas Mangan at Chisenhale Gallery, London, 7 July 2015, 19h. 22 June 2015
- Tutors of the 2015 International Curatorial Retreat, 9–13 May, Bari (Italy) 17 May 2015
- Lecture and seminar, MADA | Monash University of Art Design & Architecture, 14 May 2014 (6 May 2014)
- Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June) 30 May 2014
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (unless otherwise noted in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Locating Ancient Lights signs around London with Nicholas Mangan
Tue, Jul 14 2015Nicholas Mangan’s show “Ancient Lights” recently opened at London’s Chisenhale Gallery, where Latitudes had a conversation with the artist on 7 July. The title of the show refers to a long-established English planning law enshrining the “right to light” by restricting the construction of buildings that would block sunlight reaching the windows of neighboring properties. If the sun has shined through a window for more than twenty years, there is legal protection for it not to be blocked.
In the spirit of our tour project Incidents of Travel (which has involved artist-led explorations of Mexico City, Hong Kong, and soon San Francisco) on 3 July we set out with Nick to track down some of these esoteric signs in central London.
We started with a set of signs that – thanks to Wikipedia’s entry on the Right to light – are probably the best-known examples. The back windows of houses on Albemarle Way are visible from the Memorial Garden of the Priory Church of the Order of Saint John just off the Clerkenwell Road. (Here is a map of some Ancient Lights signs in London, if you know of more let us know!). We made our way on foot to a spot at the south end of Hatton Gardens (an address now notorious for the April 2015 heist) but failed to find the rumored sign there. It was a little early in the day for a pint at the nearby Ye Olde Mitre.
Heading in to Chinatown, we found ourselves scouring the bizarrely-named Horse & Dolphin Yard, a dead-end alleyway with a pagoda-like construction where several restaurants from Gerrard Street and Shaftesbury Avenue have there back entrances. We eventually spotted the sign, which appears to have been moved from its original location as it doesn’t mark any window, just a bare brick wall.
Nearby there is a cute sign above the diminutive Rupert Court, at the back of The Blue Posts pub. (If we were going to stop for a drink it would have to be somewhere far more thematically appropriate – the Sun Tavern in Covent Garden, The Sun and 13 Cantons in Soho or the Rising Sun in Bloomsbury, would hit the spot).
Later in the week we found the huge and typographically-distinguished Ancient Lights sign in Newman Passage, a little connecting street perhaps most famous for its starring role in the murderous opening scene of the film Peeping Tom (1960).
The more modest sign that can be seen next to the lamp of The Hope pub, just near Goodge Street tube station, is a palimpsest still bearing visible traces of an earlier sign underneath. Thus endeth the tour!
RELATED CONTENT:
Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;
Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;
Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;
Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2015, Chisenhale, conversations, Incidents of Travel, London, Nicholas Mangan, offsite, tour
In the spirit of our tour project Incidents of Travel (which has involved artist-led explorations of Mexico City, Hong Kong, and soon San Francisco) on 3 July we set out with Nick to track down some of these esoteric signs in central London.
We started with a set of signs that – thanks to Wikipedia’s entry on the Right to light – are probably the best-known examples. The back windows of houses on Albemarle Way are visible from the Memorial Garden of the Priory Church of the Order of Saint John just off the Clerkenwell Road. (Here is a map of some Ancient Lights signs in London, if you know of more let us know!). We made our way on foot to a spot at the south end of Hatton Gardens (an address now notorious for the April 2015 heist) but failed to find the rumored sign there. It was a little early in the day for a pint at the nearby Ye Olde Mitre.
Heading in to Chinatown, we found ourselves scouring the bizarrely-named Horse & Dolphin Yard, a dead-end alleyway with a pagoda-like construction where several restaurants from Gerrard Street and Shaftesbury Avenue have there back entrances. We eventually spotted the sign, which appears to have been moved from its original location as it doesn’t mark any window, just a bare brick wall.
Nearby there is a cute sign above the diminutive Rupert Court, at the back of The Blue Posts pub. (If we were going to stop for a drink it would have to be somewhere far more thematically appropriate – the Sun Tavern in Covent Garden, The Sun and 13 Cantons in Soho or the Rising Sun in Bloomsbury, would hit the spot).
Later in the week we found the huge and typographically-distinguished Ancient Lights sign in Newman Passage, a little connecting street perhaps most famous for its starring role in the murderous opening scene of the film Peeping Tom (1960).
The more modest sign that can be seen next to the lamp of The Hope pub, just near Goodge Street tube station, is a palimpsest still bearing visible traces of an earlier sign underneath. Thus endeth the tour!
RELATED CONTENT:
Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;
Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;
Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;
Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Archive Cover Story (June): Ignasi Aballí sees nothing and something
Wed, Jul 1 2015
June 2015 Cover Story dedicated to Barcelona-based artist Ignasi Aballí, creator of one of Latitudes' commemorative tote bags.
Related Content:
Cover Story #3: Here's to horseshoes: Lawrence Weiner and Sergi Aguilar 1 June 2015
Cover Story #2: Beneath the Connaught Road West flyover, Hong Kong, 19 January 2013 4 May 2015
Cover Story #1: Wilfredo Prieto's work "Grease, Soap, Banana" 2 April 2015
Latitudes hosts the MA Curating Contemporary Art students of the Royal College of Art in Barcelona 7 October 2014
Ignasi Aballí at ARTIUM and Latitudes' text on 2009 project in Beijing and a 2010 interview 20 May 2012
Where to find the publications edited by Latitudes? 22 April 2012
'THE LAST STAR-LEDGER' AVAILABLE NOW! #4 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum 27 October 2010
Ignasi Aballí's exhibition catalogue 'Nothing, or Something' now available 26 October 2009
Slideshows of two projects: 'Provenances' at Umberto di Marino and 'Nothing, or Something' at SUITCASE Art Projects Beijing 25 May 2009
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This is the blog of the independent curatorial office Latitudes.
Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption).
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.