Marking 20 Years of Max Andrews as a Writer for Frieze Magazine
Tue, Jun 4 2024
Reviews, opinion columns, profiles, and features here.
This month marks 20 years of Max Andrews contributing to frieze magazine. Max’s inaugural review in 2004 featured an exhibition of Danish artist Jesper Just at Midway Contemporary, written while working as a Curatorial Fellow at the Walker Art Center in Minneapolis.
Over the last two decades, Max has written +60 texts exploring topics including ecology, institutional thinking, open call fatigue, the history of IVAM – Spain’s pioneering Modern Art Museum – highlights for ARCOmadrid (2024, 2023, 2022, 2020 editions), or Barcelona's intricate cultural landscape, among others.
Max’s latest review covers Ibon Aranberri’s survey exhibition “Entresaka” at the ARTIUM Museoa – Museo de Arte Contemporáneo del País Vasco in Vitoria-Gasteiz (Basque Country).
Other reviews, opinion columns, profiles, and features here.
Writing published elsewhere here.
→ RELATED CONTENT:
- Max Andrews' Valencia Feature in frieze magazine, November-December 2019, 2 November 2019
- Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell), 4 January 2019
- Mariana Cánepa Luna reviews Frieze week 2018 for art-agenda.com, 15 October 2018
- MaxAndrews review of Mark Bradford's inaugural exhibition “Masses and Movements” at Hauser Wirth Menorca centres on “the 1507 Waldseemüller world map, the first to depict a landmass in the far reaches of the Atlantic and to name it America.”
- “Like the derelict buildings that pockmark Lleida’s urban fabric, Bestué’s exhibition summons a terrain that is barely held together, on the verge of becoming undone.” – Max Andrews on David Bestué exhibition at La Panera, Lleida in "The 5 Best Exhibitions in the EU Right Now", 19 May 2021
- Max Andrews reviews Eulàlia Rovira's solo show at etHALL where the artist pays homage to the thresholds between life and death in frieze, October 2020
- frieze review by Max Andrews of Joachim Koester's show at the Blueproject Foundation, Barcelona
- October 2004 issue of frieze includes Max Andrews' review of Christopher Knowles show at Gavin Brown’s Enterprise
- Two texts by Max Andrews in the April 2018 issue of frieze: review of La Panace’s Crash Test (Montpellier) and Lúa Coderch’s solo show at àngels Barcelona
- Max Andrews on Alexandre Estrela at Museo Reina Sofia
- Exhibition Review of Rasmus Nilausen's show "Read the Image" at Garcia Galeria by Max Andrews in frieze
- Review of Lucy Skaer's 2014 solo show Glasgow Tramway by Max Andrews in frieze
- Profile on Francesc Ruiz’s comic books, identity & homoerotic iconography by Max Andrews in frieze
- A 2007 profile on Wilfredo Prieto by Max Andrews on frieze
- A 2012 review by Max Andrews on the film "Arbeit (Work, 2011)" by 2014 Turner Prize winner Duncan Campbell
- 2006 review of Ignasi Aballí's retrospective at MACBA by Max Andrews
- Review of Julia Montilla’s show Fundació Miró by Max Andrews on frieze
- Max Andrews on Pablo Helguera's 2013 ‘Librería Donceles’ at Kent Fine Art in New York in frieze
- 2005 review by Max Andrews of Latitudes of Jordan Wolfson's show Kunsthalle Zurich
- Max Andrews on the political, social and economic factors of environmentalism in frieze magazine, 2007
Max Andrews' Valencia Feature in frieze magazine, November-December 2019
Sat, Nov 2 2019
Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.
Max Andrews, co-director of Latitudes and contributing editor to frieze magazine, has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ for the November–December 2019 (issue 207) of frieze.
The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.
Fermín
Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.
"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art."
→ Continue reading here.
View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
(Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019.
→ RELATED CONTENT:
- Latitudes' writing archive.
- 11 de julio 2019, 19h: Mariana Cánepa Luna en conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM).
- ‘Thinking like a drainage basin’ essay by Latitudes in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019.
- Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019.
- Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019.
- Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019.
- Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell) 4 January 2019
- art-agenda review of Frieze week 2018 15 October 2018.
- Report from Vienna Art Week and Amsterdam Art Weekend 28 November 2018.
- Report: Liverpool Biennial 2018 "Beautiful world, where are you?" in photos 17 October 2018.
- Report from London and Oxford, 31 May 2018.
- Report from Berlin Gallery Weekend and Cologne, 9 May 2018.
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’
Fri, Nov 1 2019
Latitudes' homepage www.lttds.org
The November 2019 monthly Cover Story ‘Fighting fires in Valencia: the 30-year story of the IVAM’ on Latitudes' homepage: www.lttds.org
"How does a museum recover from scandal? What imperatives exist for regional institutions outside of capitals? When, in 1989, the IVAM (Institut Valencià d’Art Modern) opened the doors to its imposing, new, slab-like building on the edge of what was once Valencia’s medieval walled core, it became the first public museum in Spain dedicated to collecting and exhibiting 20th-century art. Discussing IVAM’s rise, fall and reinvention, an article in the current frieze (issue 207, November–December) by Latitudes' Max Andrews (also a frieze Contributing Editor) is a case study on how right-wing politics impacted an entire city art ecology."
→ Continue reading
→ After November 2019, this story 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 CONTENTS:
→ After November 2019, this story 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 CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
- Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
- Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
- Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
Tue, Jun 25 2019
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’
Sat, Jun 1 2019
Latitudes' homepage www.lttds.org
The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org
“Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”
—> Continue reading
—> After May 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:
- Archive of Monthly Cover Stories
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair 22 April 2019
- Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
- Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 201