Longitudes

Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition for art-agenda.com


Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018. 

Jennifer Allora and Guillermo Calzadilla’s “Allora & Calzadilla
Fundació Antoni Tàpies, Barcelona
February 6—May 20, 2018

by Mariana Cánepa Luna


"A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center. Leaning over the rim of the piano to strike the keys, the performer energetically interprets the fourth movement of Ludwig van Beethoven’s Symphony No. 9 (1824), while slowly pushing the wheeled instrument around the space. The building has become a musical box, the exhibition orchestrated such that one movement flows into the other, spilling through the gallery’s spaces to create a dissonant soundscape."


—> Continue reading...

Originally published in art-agenda.com on March 19, 2018.



Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Hope Hippo’ (2005). © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Lifespan’ (2014) © Foto: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla, ‘Sweat Glands, Sweat Lands’ (2006). Video SD, color, sound. Duration: 2 minutes, 21 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018.

Allora & Calzadilla, ‘A Man Screaming is Not a Dancing Bear’ (2008). 16 mm film, color, sound. Duration: 11 minutes, 15 seconds. Courtesy Thyssen-Bornemisza Art Contemporary (TBA21). Photo: Roberto Ruiz. © Fundació Antoni Tàpies. 

Allora & Calzadilla, ‘Apotomē’ (2013). 16 mm film transferred to HD, colour, sound. Duration: 23 minutes, 9 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018. 

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Cover Story – March 2018: Armenia's ghost galleries

Latitudes' home page www.lttds.org 

The March 2018 Monthly Cover Story ‘Armenia's ghost galleries’ is now up on www.lttds.org – after this month it will be archived here.

Incidents (of Travel)’ – Latitudes collaboration with Kadist – returns with a dispatch from Yerevan, Armenia. The itinerary leads us on something of a ghost tour. Photographs and reportage unearth the fragmented memories of galleries and art spaces that no longer exist. This haunted dispatch is the fruit of two-years of meticulous shared inquiry by Armenian curator Marianna Hovhannisyan (currently based in San Diego) with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan, alumni of the former Studio College of the National Center of Aesthetics in Yerevan. 


—> Continue reading

Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017
  • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017

Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ in the process of being acquired by ARTIUM, Vitoria-Gasteiz


Above and below: Installation views of "Work in progress" in the exhibition "The Margins of the Factory", ADN Platform, 25 January–30 April 2014. Video (14’ 22”), 739 polyurethane sculptures, and 47 moulds. Produced with support from the Eremuak program of the Basque Government and from Centrum Beeldende Kunst Rotterdam. Courtesy of the artists. Photos: Roberto Ruiz.






We are very happy to know that Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ (2013) is in the process of being acquired by ARTIUM, Centro Museo Vasco de Arte Contemporáneo in Vitoria-Gasteiz, Basque Country. The piece is on display as part of the exhibition ‘ARTres. El museo como deba ser’ (March 2–August 26, 2018).

Work in Progress’ was one of the two works included in their solo exhibition "The Margins of the Factory" presented at ADN Platform in January 2014, and curated by Latitudes.






Work in Progress’ immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand.

Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the “Chalk Laboratory” of Basque sculptor Jorge Oteiza (1908–2003), a fierce critic of the commodification of art. 

 Exhibition leaflet. Pdf downloadable here.

Latitudes previously collaborated with Jaio and van Gorkum in the exhibition cycle ‘Amikejo’ presented throughout 2011 in MUSAC, León, when they exhibited ‘Producing time between other things’ (2011), a work specially produced for the occasion, and also included in the above-mentioned show "The Margins of the Factory" in 2014.

—> Photographs of the exhibition.
—> Exhibition leaflet (pdf).
—> Exhibition reviews.
—> Video on ‘Producing time between other things’ (2011)



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Sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia

http://incidents.kadist.org/yerevan

The sixth 'Incidents (of Travel)' episode narrates a walking itinerary in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city center

The itinerary was conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan — three art students from the National Center of Aesthetics, one of the oldest alternative art educational hubs in the city. 

The inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work.

Each of the 15 photographs is augmented by one or more extra assets – a brief commentary or a caption –, accessed by clicking the words which overlay the images.



Marianna Hovhannisyan (Yerevan/San Diego) is a research-based curator, a Ph.D student in Art History, Theory, and Criticism at Visual Arts Department, Univerisity of California San Diego. 

Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).


The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


http://incidents.kadist.org/chicago

A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


http://incidents.kadist.org/jinja

The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


http://incidents.kadist.org/suzhou

The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China
http://incidents.kadist.org/lisbon

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
http://incidents.kadist.org/terengganu

The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."  


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    Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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