Latitudes' "out of office" 2014–2015 season
Fri, Aug 7 2015
It's that end-of-the-season time of the year again. It has become a tradition for Latitudes (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14 posts) to mark the summer break, not by presenting a written memo of activities or a financial statement, but with a 'behind the scenes' post filled with photos revisiting moments from the year gone by. So here are some glimpses from September 2014 to August 2015.
Slowing down is rather relative this Summer, as at the end of July we embarked on a two-week trip to The Banff Centre in Canada to be Guest Faculty of one of its thematic residencies, 'Blueprint for Happiness' led by British artists Heather & Ivan Morison. At the end of August, we will be in residency at Kadist Art Foundation in San Francisco for another two weeks.
Slowing down is rather relative this Summer, as at the end of July we embarked on a two-week trip to The Banff Centre in Canada to be Guest Faculty of one of its thematic residencies, 'Blueprint for Happiness' led by British artists Heather & Ivan Morison. At the end of August, we will be in residency at Kadist Art Foundation in San Francisco for another two weeks.
Milestones during the first part of 2015 were two-fold: after months of technical tweaking and editorial wrangling, we launched our newly designed website in February and secondly, this Spring Latitudes celebrated its 10th anniversary.
Have a great holiday, más en septiembre!
Have a great holiday, más en septiembre!
7 October 2014: Latitudes hosted the second year students of the MA Curating Contemporary Art at the Royal College of Art, London, and took the opportunity of presenting and reflecting on our collaborations with three Catalan artists – Martí Anson, Ignasi Aballí and Francesc Ruiz.
Francesc Ruiz presenting his work to the RCA students.
Trip reporting: We reported from the field including at Madrid's Apertura in September, London's Frieze week in October, David Jablonowski's "Hype Cycle" at Fons Welters during Amsterdam's Art Weekend in November, and from Bordeaux in January, to Bari in May.
Writing: This year Max Andrews has joined frieze as Contributing Editor – where he has been writing since 2004. His writing has been more frequent in recent months as frieze have published reviews on Maria Thereza Alves at CAAC in Sevilla, the group show "What cannot be used is forgotten" at CAPC Bordeaux, a profile of Nicholas Mangan and a review of the Spanish and Latin American Pavilions at the Venice Biennale. Mariana Cánepa Luna also published an interview with Mangan in Mousse Magazine last February.
New website: Our homemade website finally saw the light of day in February. As explained in this post, the website features new elements such as the 'Cover Story' (more on that in the next paragraph), sliding photo galleries, a tidied-up sidebar with a calendar of events, tags to filter projects by 'year' or 'exhibition', etc.
'Cover Story': More writing has emerged through the new monthly section "Cover Story" on our home page (check out the archive of this section):
March 2015: Focused on a single artwork: Wilfredo Prieto's ‘Grasa, jabón y plátano’ (2006);
April 2015: Revisited a peculiar site: the Connaught Road West flyover, in Hong Kong;
April 2015 Cover Story.
May 2015: Honoured two artistazos: Lawrence Weiner and Sergi Aguilar and a whisky-enhanced chat on the Barcelona shore in October 2008;
June 2015: Visited Ignasi Aballí at his Raval studio.
Summer 2015: Orbited around Australian artist Nicholas Mangan, an artist with whom Latitudes just did an in conversation in the context of his solo exhibition "Ancient Lights" at Chisenhale, London and whose work has been the focus in Max Andrews' Frieze text as well as in Mariana Cánepa Luna's interview in the February-March issue of Mousse Magazine.
26 February, ARCOmadrid: On jury duty visiting the galleries participating in the #Opening section of the art fair, in order to select its best stand. The award was given to Barcelona-based gallery etHALL which presented works by Martin Vitaliti and Sergio Prego.
Silkscreen process of Lawrence Weiner's design. Photo: Print Workers.
Silkscreening Ignasi Aballí's tote. Photo: Print Workers.
Silkscreening Mariana Castillo Deball tote. Photo: Print Workers.
9–13 May 2015: After an intense week of Biennale overdose in Venice, we traveled to Bari to join Vessel and MADA's 2015 International Curatorial Retreat as two of its tutors. The week was far from being a retreat, it was more like an "intensive" – though it certainly was a "treat". Highly interesting debates and conversations on-and-off the scheduled activities of lectures and break-out sessions emerged in places such as a cave or in the nearby town Monopoli – no direct link to the property trading board game. Here a report from fellow tutor Dr. Alexandra Ross.
Visiting the market. Photo: Piero Percoco.
Chef Boris Portnoy doing some dinner prep at Doppelgaenger gallery/home.
Due to a fire in Rome's airport, our flight was cancelled and we had to rearrange our travel, spending another day in Bari. We therefore visited (we were in fact their only visitors) the Palazzo dell'Acquedotto Pugliese di Bari, decorated by roman designer Duilio Cambellotti.
A food detour to purchase delightful spicy rucola in the Mercato ex Manifattura Bari, in the Quartiere Libertà.
3–5 June 2015: Max Andrews participated in the annual 'Invest Conference 2015' organised by Stroom den Haag, in The Hague, consisting of "an incentive for the artistic development of recently graduated artists who have received the PRO Invest subsidy in the year before. A group of ten international curators is asked to visit these artists in their studios and meet with the art scene of The Hague."
Above (visiting Machteld Rullens) and following photographs by Myung Feyen. Courtesy Stroom den Haag.
7 July 2015: For our last public event of the year we joined Melbourne artist Nicholas Mangan for an in conversation in the context of his solo show 'Ancient Lights' that opened a few days earlier at Chisenhale Gallery in London. Mint and Lime Films video documented the talk – watch it from Chisenhale's website / Vimeo.
Vinyl listing the exhibition events.
(Above) Photos by Manuela Barczewski.
27 July–7 August 2015: Guest Faculty of the Thematic Residency 'Blueprint for Happiness' at The Banff Centre, Canada. We joined the group in the middle two weeks of the six week programme led by British artists Heather and Ivan Morison.
View of The Banff Centre from our bedroom in Lloyd Hall.
Views from Latitudes' studio in the Jeanne & Peter Lougheed Building.
Studio visit with "Blueprint for Happiness" participant Vanessa Kwan.
Studio visit with "Blueprint for Happiness" participant Robert Cram.
Inevitable photo of a deer walking around Banff.
Stunning evening sunset over the Bow River after a storm with a double rainbow.
While in Banff, Latitudes led three seminars bringing forward a series of case studies as well as focussing on a number of artists whose practice has dealt with public space in different geographical contexts. We also undertook studio visits with each of the 11 resident artists, and participated in a field trip to Calgary to visit the HQ of art construction company Heavy Industries and the Esker Foundation Contemporary Art Gallery.
(School) Field trip to Calgary to visit Heavy Industries fabricators and the Esker Foundation.
Even though the school bus seats were no longer in scale to our adult bodies, interesting chats happened over the 2 hours of each trajectory.
On Sunday 2 August, Latitudes hosted a closed-door evening film programme screening works 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.
Flicking through some of the 4,000 artist books at Banff library.
Most of this past months' activity has been invested in preparing for 2015–16 projects: Firstly, 'Compositions' a series of five artistic interventions by six artists active in the Barcelona art scene: David Bestué (Barcelona, 1980. Lives in Barcelona); Dora García (Valladolid, 1965. Lives in Barcelona), Jordi Mitjà (Figueres, 1970. Lives between Lladó and Banyoles); Rasmus Nilausen (Copenhagen, 1980. Lives in Barcelona) & Pere Llobera (Barcelona, 1970. Lives in Barcelona) and Daniel Steegmann Mangrané (Barcelona, 1977. Lives in Rio de Janeiro, Brazil), which will take place in the context of the first Barcelona Gallery Weekend (1–4 October 2015).
Secondly, we've been working on the forthcoming solo exhibition of Venezuelan-born, Barcelona-based artist José Antonio Hernández-Díez which will be on view at La Capella MACBA from March 2016. Onwards!
Latitudes 'Out of office' 2013–14, 31 July 2014;
Latitudes' "out of office" photo album, 2012–2013 season, 31 July 2013;
Latitudes' "out of office" photo album 2011–2012, 31 July 2012;
Latitudes 'out of office' photo album 2010–11 season, 1 August 2011;
Latitudes 'out of office' photo album 2009–10 season, 30 July 2010;
Latitudes' "out of office" photo album 2008-9, 30 July 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)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015
Wed, Feb 11 2015The February–March 2015 issue of Mousse Magazine (#47) includes the interview 'What Lies Beneath' between Melbourne-based artist Nicholas Mangan (1979, Geelong) and Mariana Cánepa Luna of Latitudes.
The interview centers primarily on discussing the artists' methodologies through two of Mangan's recent works: 'A World Undone' – currently on view as part of Witte de With's show 'Art in The Age of...Energy' (23 January–3 May 2015) – and his film and sculptural work 'Nauru - Notes From A Cretaceous World' which will soon be featured as part of the New Museum's 2015 Triennial: Surround Audience curated by Lauren Cornell (Curator, 2015 Triennial, Digital Projects and Museum as Hub) and artist Ryan Trecartin.
Read the full review here. Following is an excerpt of the beginning of their conversation:
Mangan works with LABOR (México DF), Sutton Gallery (Melbourne) and Hopkinson Mossman (Auckland).
Related Content:
Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 April 2014).
'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' by Max Andrews on Mousse Magazine #31 (30 November 2011)
Interview 'Free Forms' with Lauren Cornell part of Latitudes' 2012–13 long-term research #OpenCurating, released on April 2013 via Issuu.
2015, Ecology, interview, LABOR, Mariana Cánepa Luna, Melbourne, Mousse magazine, New Museum, Nicholas Mangan
Layout of the interview in English and Italian on the pages of Mousse Magazine.
The interview centers primarily on discussing the artists' methodologies through two of Mangan's recent works: 'A World Undone' – currently on view as part of Witte de With's show 'Art in The Age of...Energy' (23 January–3 May 2015) – and his film and sculptural work 'Nauru - Notes From A Cretaceous World' which will soon be featured as part of the New Museum's 2015 Triennial: Surround Audience curated by Lauren Cornell (Curator, 2015 Triennial, Digital Projects and Museum as Hub) and artist Ryan Trecartin.
Read the full review here. Following is an excerpt of the beginning of their conversation:
'Dowiyogo’s Ancient Coral Coffee Table', 2010. Courtesy of the artist, Sutton gallery Melbourne and Hopkinson Mossman Auckland.
MCL: Unearthing
narratives embedded within matter has been at the very core of your
practice for some time now. Your most recent sculptural and film
works have inquired into natural materials, their transit and energy
flow and how their transformation – be it human-induced or
ecological – have a social, political and an economic dimension.
I'm particularly thinking of your 2010 project 'Nauru: Notes from a Cretaceous World' – featured at the New Museum 2015 Triennial– which focuses on the story of the tiny Micronesian island
Republic of Nauru and its financial collapse as a consequence of a
century of corrosive colonial exploitation of its phosphate ore
resources. Could you elaborate on how this notion of transformation
is explored in your sculpture works (traditionally static) and films
(moving image) and how you have come to interrelate the two in the
spatial narrative of your installations?
NM: As transformation is a process occurring in time, the necessity to explore duration has led me to test moving image as a sculptural possibility, to express not only the temporality of the assemblage, but also the forces and drives that produce such aggregations. In the video ‘Nauru: Notes from a Cretaceous World', narration sits over found footage and material that I shot myself, providing an account of Nauru’s material history as shaped by anthropogenic forces. The narration attempts to draw out the various histories that are embedded in material forms. In more recent projects, such as ‘A World Undone’ (2012) and ‘Progress In Action’ (2013), I have attempted to produce an intensified intersection between moving image and sculpture, enabling the materials to narrate themselves.
NM: As transformation is a process occurring in time, the necessity to explore duration has led me to test moving image as a sculptural possibility, to express not only the temporality of the assemblage, but also the forces and drives that produce such aggregations. In the video ‘Nauru: Notes from a Cretaceous World', narration sits over found footage and material that I shot myself, providing an account of Nauru’s material history as shaped by anthropogenic forces. The narration attempts to draw out the various histories that are embedded in material forms. In more recent projects, such as ‘A World Undone’ (2012) and ‘Progress In Action’ (2013), I have attempted to produce an intensified intersection between moving image and sculpture, enabling the materials to narrate themselves.
'Nauru - Between A Rock and A Hard Place' installation view at Art Gallery Of New South whales 2009. Courtesy of the artist, Sutton gallery in Melbourne and Hopkinson Mossman in Auckland. Photo: Carley Wright.
'Mined over matter', 2012. C-print on cotton paper, 69 x 103cm.
Courtesy of the artist and LABOR Mexico.
'Matter over mined (for A World Undone)', 2012. C-print on cotton paper 69 x 103cm.
Courtesy of the artist and LABOR, Mexico.
'A World Undone', 2012 (video Stills). HD colour, silent, 12min continuous loop.
Courtesy of the artist and LABOR Mexico.
Mangan works with LABOR (México DF), Sutton Gallery (Melbourne) and Hopkinson Mossman (Auckland).
Related Content:
Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 April 2014).
'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' by Max Andrews on Mousse Magazine #31 (30 November 2011)
Interview 'Free Forms' with Lauren Cornell part of Latitudes' 2012–13 long-term research #OpenCurating, released on April 2013 via Issuu.
–
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.
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.
'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' by Max Andrews on Mousse Magazine #31
Wed, Nov 30 2011
Newsletter #22 – April 2010
Thu, Apr 8 2010
Newsletter in English | Newsletter en Español
This month, Latitudes celebrates its 5 year anniversary! Together with Archive Books (Turin/Berlin) they are preparing a small publication gathering documentation from a selection of projects produced since 2005 (release date TBA).
CURRENT
Text 'Under Construction' on Lara Almarcegui's practice on the April–May issue of Milan-based magazine Mousse #23.
FORTHCOMING
Latitudes invited Martí Anson to create Latitudes’ temporary office-encampment for their participation in 'NO SOUL FOR SALE – A Festival of Independents', taking place at Tate Modern's Turbine Hall, 14–16 May, London, UK + info...
Participation of Latitudes' Max Andrews in 'The Falmouth Convention', 20–23 May, Cornwall, UK + info...
Collaboration in the exhibition 'The Last Newspaper' at the New Museum, New York, October 2010–January 2011 + info...
LAST CHANCE
Portscapes exhibition of the ten public commissions that took place throughout 2009 in the port of Rotterdam, on view until 25 April at the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands + info...
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Check Latitudes' web www.lttds.org for further info and project updates
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