Lawrence Weiner

An artwork by Lawrence Weiner which reads “A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE”. Latitudes commissioned this new work on the occasion of his 2008 solo exhibition at Barcelona’s Fundació Suñol, from where it unfolded as a four-part project. 1: The distribution of a public sculpture in the form of 300,000 sugar sachets sweetening 70 cafés in the city. 2: As a statement painted on a wall. 3: As a musical composition. 4: As an action at the sea wall of Barcelona’s port. Through language and materials, the statement appears to comprise an account of Spain’s mercantile and maritime history, its equestrian and commercial power. To be thrown in the sea at the user’s discretion. Horseshoe not included.
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Lawrence has had many solo exhibitions including those at the Stedelijk Museum, Amsterdam and Museu d’Art Contemporani de Barcelona (both 2013). His 2007–8 retrospective, AS FAR AS THE EYE CAN SEE, was co-produced by the Whitney Museum and the Los Angeles Museum of Contemporary Art. He participated in documenta 5, 6, 7, and 13 (1972, 1977, 1982, 2012), and in the Venice Biennales of 1972, 1984, 2003 and 2013. Lawrence is an Honorary Doctorate of Humane Letters from the Graduate Center, City University of New York (2013). In September 2013 Latitudes read Lawrence’s publication for dOCUMENTA (13) Reader’s Circle on the steps of the Fridericianum.

Haegue Yang

The graphic featured on Haegue Yang’s bag is based on Eclectic Totemic – wallpaper created in collaboration with designers OK-RM (Oliver Knight and Rory McGrath) for her solo show at the Musée d’art moderne et contemporain, Strasbourg, in 2013. Developed through the surrealist principle of Exquisite Corpse, geometric composites were comprised of fragmentary portraits of individuals who have informed Haegue’s work. With the face of Romain Gary and the chin of George Orwell, this totem references two literary works in which elephants are symbols for an exploration of human morality – Orwell’s 1936 essay ‘Shooting an Elephant’ and Gary’s 1956 novel The Roots of Heaven. Haegue formed a part of Latitudes’s exhibition Sequelism Part 3 (2009). Furthermore, Max Andrews of Latitudes has written on her work for catalogues including Symmetric Inequality, Sala Rekalde; Life on Mars 55th Carnegie International; and Sense & Sustainability, Urdaibai Arte.
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Haegue Yang (Seoul, 1971) has held solo exhibitions at institutions including Leeum, Samsung Museum of Art, Seoul (2015), Bergen Kunsthall, Bergen (2013), Haus der Kunst München, Munich (2012); Kunsthaus Bregenz, Modern Art Oxford, and Aspen Art Museum (2011). She participated in dOCUMENTA (13), Kassel (2012), and represented Korea at the 53rd Venice Biennale in 2009.

Ignasi Aballí

Ignasi Aballí’s design is a nod to Nothing, or Something, his project at Suitcase Art Projects / Today Art Museum, Beijing, that Latitudes curated in 2009. This project centred on the artistic history of absence and comprised a series of display windows of a retail centre which drew attention to mundane or invisible materials such as dust and newspapers, light and air. Ignasi’s bag is a mischievous take on slogan apparel, a bold statement (in Helvetica, naturally) printed in barely visible ink. By showing the first side you would reticently declare “NOTHING”, or by deploying the reverse side you could display the skeptical catch-all message: “SOMETHING”.
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The work of Ignasi Aballí (Barcelona, 1958) has been shown in solo exhibitions including: Artium Centro Museo Vasco de Arte Contemporáneo, Vitoria, Spain (2012); Pinacoteca do Estado de São Paulo (2010); ZKM, Karlsruhe, Germany and Museu de Serralves, Porto (2006). He is currently preparing solo exhibitions at the Museo Nacional Centro de Arte Reina Sofía, Madrid (autumn 2015) and at the Fundació Joan Miró, Barcelona (2016).

Mariana Castillo Deball

The design of Mariana Castillo Deball comprises a two-sided drawing informed by her research into pre-Columbian Mesoamerican codices as well as fables about the adventures and transformations of non-humans. Her related film based on the Borgia Codex, El Donde estoy va desapareciendo (The where I am is vanishing), was produced for the 2011 Venice Biennale and was also shown as part of Amikejo, the exhibition series that Latitudes curated at MUSAC, León, the same year. Latitudes have also worked with Mariana in the context of the exhibitions Extraordinary Rendition (2007) and Sequelism – Part 3 (2009).
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Mariana Castillo Deball’s (Mexico City, 1975) recent solo exhibitions include: Museo de Arte Contemporáneo de Oaxaca (2015); Hamburg Bahnhof (2014); Chisenhale Gallery, London (2013). Group exhibitions include dOCUMENTA (13), Kassel (2012); ILLUMInations, the 54th Venice Biennale (2011); Migros Museum, Zurich (2010); Museum of Contemporary Art, Detroit (2010); 2nd Athens Biennale (2009); Manifesta 7 (2008).

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