Cover Story—October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler"
Mon, Oct 1 2018
The October 2018 Monthly Cover Story "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" is now up on Latitudes' homepage: www.lttds.org
"Eulàlia Rovira and Adrian Schindler’s new performance, "One motif says to the other: I can’t take my eyes off you" took place on 14th September as part of the Latitudes-curated Cream cheese and pretty ribbons! at Galerie Martin Janda, Vienna, an exhibition that also features the talents of David Bestué, Sean Lynch, and Batia Suter. The exclamatory title of the exhibition (which continues until 13 October as part of the curated_by festival synthesises two of the satirist Karl Kraus’s similes for what, writing in 1910, he considered the cultural polarity of monotonous functionality on the one hand and frivolous adornment on the other. Kraus lampooned both the sobriety of Germanic culture and the good taste of Romance culture, yet judged an even greater taboo was to be found in Vienna’s dressing up of the former with the latter."
—> Continue reading
—> After October it will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.
RELATED CONTENT:
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’, 17 September 2018
- Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
- Cover Story–August 2018: Askeaton Joyride, 2 August 2018
- Cover Story–July 2018: No Burgers for Sale 2 July 2018
- Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
- Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
- Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018
Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna
Thu, Jun 21 2018 |
| Sean Lynch, Still from “A Blow by Blow Account of Stonecarving in Oxford” (2013–14). Slide projection with voiceover (19’), stone carving, rubble, photographs, museum artefacts, printed matter. Courtesy of the artist. |
Kraus thought that what he saw as the specifically Viennese development of dressing up Germanic culture with decorative elements imported from Romance culture was a bullshit ornamentation of the utilitarian.
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| Eulàlia Rovira and Adrian Schindler, ‘The Feet Fixed to the Ground Betray No Impatience’ (Els peus fixats al terra delatant cap impaciència) (2016), installation view at Fireplace, Barcelona. Courtesy the artists. |
Opening on September 13, 6–9pm, at Galerie Martin Janda in Vienna (and on view until October 14), the exhibition ‘Cream cheese and pretty ribbons!’ curated by Latitudes brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.
Given that Kraus conjures up a world of robust public debate, whether on the pages of newspapers or in the cafés, the exhibition space has been devised as a kind of uncanny street scene.
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| Façade of Galerie Martin Janda. Photo by Anna Konrath. |
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RELATED CONTENT:
- David Bestué's installation "Luces" at Cosme Toda Factory, part of the Barcelona Gallery Weekend site-specific commissions programme Composiciones 2015 curated by Latitudes.
- Sean Lynch as Guest Faculty of Latitudes-led month-long seminar ‘Geologic Time’ at the Banff Centre, Canada.
- ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne’, Meessen De Clercq, Brussels, Belgium, 25 February–16 April 2011.
- ‘Provenances: Erick Beltrán, Simon Fujiwara and Jordi Mitjà’, Umberto di Marino Arte Contemporaneo, Naples, Italy, 14 May–14 September 2009.
- ‘The Garden of Forking Paths’, Maisterravalbuena, Madrid, Spain, 28 May–31 July 2009.
- ‘Extraordinary Rendition’, NoguerasBlanchard, Barcelona, Spain, 22 March–19 May 2007.
Report: Trip to London and Oxford in pictures
Thu, May 31 2018
(Above and four below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
(Above and below) The magnificent main hall of the Pitt Rivers Museum in Oxford.
An example of Micronesian currency – we're reminded of our extended conversation with Melbourne-based artist Nicholas Mangan published in his 2016 Sternberg Press publication "Limits to growth" (and also during Chisenhale's live conversation and while chasing Ancient Lights).
(Above and below) These column capitals are the main reasons we visited Oxford. They were carved for the Oxford Museum of Natural History in 1859-60 by Irish brothers James and John O'Shea, along with their nephew Edward Whelan. Commissioned by John Ruskin, all the works were carved freestyle, without previous sketches, using only plant specimens from the botanical garden, and their sheer imagination, as references.
They are the protagonists of Sean Lynch's 2013 piece "A Blow by Blow Account of Stonecarving in Oxford", which we have been discussing with Sean for a while and finally saw in 2015 in Bordeaux. We continued learning more about this piece and its making during our joint adventure in Banff's "Geologic Time" residency programme last Fall.
(Above and 3 below) Leonor Antunes's "a thousand realities from an original mark" at Marian Goodman.
Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003).
(Above) Tacita Dean's "Landscape" exhibition premiered "Antigone", a new 1-hour long film and cloud paintings at The Royal Academy. Part 2 and 3 in the National Portrait Gallery (a retrospective of portrait films works) and at the National Gallery a two-room exhibition curated by the artist presents a selection of historical and contemporary still lives.
Fantastic assembly of square-format paintings by Markus Lüperz at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.
(Above and below) Batia Suter's work at The Photographers' Gallery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018.
Nicolas Lamas (above and immediately below) and Petra Feriancová (two following) two-person show "Becoming animal" at Tenderpixel.
(Above) "Pregnant Landscape" by Phoebe Unwin at Amanda Wilkinson Gallery in SoHo.
(Above and below) Wilhelm Sasnal at Sadie Coles.
(Above and below) August Sander's "Men without masks" at Hauser & Wirth included an extensive selection of rare large-scale photographs made between 1910 and 1931. The photographs were printed in a unique oversize format for inclusion in an exhibition at the Mannheimer Kunstverein in 1973.
(Above and detail below) Rose Wiley's "Lolita's House"three-floor solo show at David Zwirner.
(Above and below) 1960s vinyl sculptures by South Korean Seung-taek Lee at White Cube (Mayfair). Works have been recreated for the exhibition using urethane vinyl to achieve greater durability whilst retaining a similar visual quality.
(Above and below) Abigail Reynolds mid-career survey at Peer.
(Above) Visiting Ian White and Sadie Benning (photographed) at Camden Art Center with Antoni Hervàs.
(Above and 2 below) Last day to see Magali Reus solo show at South London Gallery.
(Above and below) Antoni Hervàs studio at Gasworks, his 3-month residency is supported by Acción Cultural Española (AC/E).
(Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
On the way to see Tacita Dean's-curated exhibition "STILL LIFE" at the National Gallery, a much-obliged stop in the room with Vermeer and Dutch still life. Jacob van Walscapelle (1644-1727) and Jan van Huysum (1682–1749) masters in flower painting.
(Above) English singer-songwriter, record producer and humanitarian Peter Gabriel during the internet interspecies symposium "The Shape of a Circle in the Mind of a Fish" curated by Lucia Pietroiusti and Filipa Ramos for the Serpentine Gallery at the London Zoo.
Not photographed but also visited: Chisenhale Gallery, Matt's Gallery, Spruth Magers, Blain Southern, Pilar Corrias, Frith Street Gallery (both locations), Hollybush Gardens, Josh Liley Gallery, Kate McGarry, Mother's Tankstation, Modern Art (unexpectedly closed when it should have been open!, and so was Project Native Informant – which had a broken lift so had to go up 3 flights of stairs).
RELATED CONTENT:
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018), also archived on Wakelet
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Report of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);