Conferencia sobre “A Knot Which is Not” de Eulàlia Rovira en Palma, Mallorca
Mon, Nov 20 2023
Fotos de @laia_ventayol.
“A knot which is not” [Un nudo que no lo es] (2020–21) fue fruto de una investigación que se inició con la inauguración de la exposición “Cosas que las cosas dicen” (17 de octubre 2020–17 de enero 2021, véase el trailer) comisariada por Latitudes en Fabra i Coats: Centre d’Art Contemporani de Barcelona, y que se proyectó en línea una vez clausuró la exposición.
Concebimos la participación de Rovira en la exposición como meta narradora de la misma. Su voz acompañó a los visitantes al inicio de la exposición – Eulàlia fue la voz de la audioguía – y a su cierre – con la presentación del video “A knot which is not”, filmado en la sala expositiva una vez volvía a estar vacía.
“Si bien la línea recta es cómplice del abaratamiento y el estandarización de muchos productos, ¿a dónde nos lleva la curva, o todavía mejor, el nudo? Dando giros a las historias de la propia fábrica textil de la Fabra i Coats y a los objetos que de allí salían, la lengua que nos habla ejercita palabras que las manos parecen haber dejado de reconocer.” – Eulàlia Rovira
(Abajo y arriba) Fragmentos del video “A knot which is not” [Un nudo que no lo es] (2020–21) de Eulàlia Rovira. Cortesía de la artista.
En la conferencia, Ventayol ha compartido imágenes del proceso de investigación que realizó Rovira para la elaboración de la narración de “A Knot Which is Not” (2021), así como sobre la colaboración que Stuart Whipps, otro artista de la exposición que exhibió “The Kipper and the Corpse” (2004–en curso), entabló con Keith Woodfield, quien trabajó en la empresa motora British Leyland en Longbridge (Birmingham) durante +30 años.
Foto cortesía de Laia Ventayol.
CONTENIDOS RELACIONADOS:
- Catálogo de la exposición diseñado por Bendita Gloria
- Guía de la exposición (descargar pdf)
- Videos de la exposición (tráiler disponible en catalán, castellano e inglés)
- Audioguía (disponible en catalán, castellano e inglés)
- The Pilgrim from Askeaton, 12 September 2023
- Cover Story, May 2022: Things Things Say in print, 2 May 2022
- New publication: “Things Things Say” now available, 28 Feb 2022
- Premiere del vídeo “A knot which is not” [Un nus que no ho és] (2020–21) de Eulàlia Rovira, 15 febrero 2021
- Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 11 January 2021
- Cover Story–January 2021: ‘Things Things Say’: ‘VIP's Union’, 1 January 2021
- 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
Conferencia ‘4.543 miles de millones y la naturaleza social abstracta’, Jornadas Eremuak, Azkuna Zentroa, Bilbao, 17–19 octubre 2019
Mon, Oct 14 2019
Imagen gráfica de las jornadas. Cortesía eremuak.
Latitudes ha sido invitada a participar en las jornadas 2019 de eremuak, que tendrán lugar en la primera planta de Azkuna Zentroa, Bilbao, entre el 17 y el 19 de octubre del 2019.
Tituladas ‘-K/-S naturak / naturalezas’, el comité de eremuak (formado por Maider Lopez, Aimar Arriola e Iñaki Imaz), pretende hacerse eco de los ‘variados aspectos de lo que tradicionalmente se ha denominado naturaleza. Desde el abandono de los espacios institucionales en busca de un afuera comprometido y renovador, hasta la inclusión de procesos u organismos vivos en esos mismos espacios, el deseo de exterioridad parece evidente.’
Evitando recurrentes simplificaciones o la reducción del eje temático a binomios humano/no- humano, los organizadores aportan al término el matiz de la pluralidad (la –k de naturak, o la –s de naturalezas) con la intención de ‘atender a una diversidad más acorde a la realidad del mundo del arte y todas las naturalezas que genera o con las que se enfrenta.’
El programa incluye la participación de una docena de conferenciantes, así como la presentación de la revista eremuak#6, Cuaderno de artista, y a modo de clausura, un concierto de Hidrogenesse (entrada libre con invitación, recoger en Azkuna Zentroa). Las jornadas son de libre acceso hasta completar aforo.
Sala de la exposición colectiva ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain, 2017–18. Photo: Latitudes/RK.
Tomando como referencia una de las diez salas de la exposición colectiva ‘4.543 milliards. La question de la matière’ (CAPC musée d'art contemporain de Bordeaux, 2017–18), Latitudes analiza la noción de "naturaleza social abstracta" acuñada por el historiador ambiental e historiador geógrafo Jason W. Moore mediante la obra de cuatro de los artistas participantes: Lara Almarcegui, Pep Vidal, Lucas Ihlein y Amy Balkin.
Actualización:
Jornadas Eremuak 2019 en vimeo.
Video de la presentación y turno de preguntas.
→ CONTENIDO RELACIONADO:
- 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
- Parallel Rooms, Art Basel Cities: Buenos Aires talks, hosted in collaboration with arteBA, Buenos Aires, 13 April 2019.
- Convenor, 'The Return of the Earth. Ecologising art history in the Anthropocene’, CAPC musée d’art contemporain de Bordeaux, 15 November 2017.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017.
- Lecture, ‘You're such a curator!’, De Appel Curatorial Programme Summit, Amsterdam, 23–24 November 2016.
- Interview with Nicholas Mangan in the exhibition catalogue "Limits to Growth" (Sternberg Press, 2016) 31 October 2016
- In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
Art and ecology exhibition and conference at Nottingham Contemporary
Thu, Jan 8 2015
Home page of Nottingham Contemporary.
Nottingham Contemporary continues their fantastic programme with an ambitious show centered on art and ecology. Ringing in the new year, 'Rights of Nature. Art and Ecology in the Americas' sets out expose how the "European idea of human mastery of the planet was imposed on the Americas. In contrast, new forms of resistance are inspired by, and linked to, indigenous cultures that see themselves as part of an ecological continuum. 'Rights of Nature...' will deliver a strong focus on the Amazon, the Andes, the Arctic and the Gulf of Mexico and is curated by TJ Demos and Alex Farquharson (Artistic Director, Nottingham Contemporary) with Irene Aristizábal (Head of Exhibitions at Nottingham Contemporary).
One of the chosen press images for the exhibition is Minerva Cuevas' 2007 'Serie Hidrocarburos', which we selected back in 2008 for the cover of the catalogue of the exhibition 'Greenwashing. Environment: Promises, Perils and Perplexities' (29 February–18 May 2008) that we co-curated with Ilaria Bonacossa at the Fondazione Sandretto Re Rebaudengo. In Turin, Cuevas' 2004 'Egalité' was displayed alongside another 'Rights of Nature' participant Amy Balkin who is also presenting her ongoing 'Public Smog' (2004–ongoing) project.
Front and back cover of the exhibition catalogue 'Greenwashing. Environment: Promises, Perils and Perplexities'.
Section of the catalogue dedicated to Minerva Cuevas's 'Egalité' (2004).
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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.
Related Content:
Minerva Cuevas's 2012 'Incidents of Travel' tour around Plaza de las Tres Culturas
in Tlatelolco, Tepito and Lagunilla neighbourhoods, and the Torre Latinoamericana. Photos of this and the other four artist' tours here.
Where to find the publications edited by Latitudes? (22 April 2012)
Art&Co Nº1, 'El arte después de la ecología' por Max Andrews (23 January 2008)
Art&Co Nº1, 'El arte después de la ecología' por Max Andrews (23 January 2008)
'Greenwashing' in Artforum Critics’ Picks (18 April 2008)
–
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.
Conferencia dentro del ciclo "Oficios de la cultura", Aula Cultura OBS Caja Mediterráneo, c/ Salzillo 7, Murcia, 17 de octubre, 20h. Entrada gratuita.
Mon, Oct 15 2012
Publicación del ciclo expositivo 'Amikejo' (Mousse Publishing, 2012).
Mariana Cánepa Luna de Latitudes discutirá el rol del comisario a partir de tres proyectos recientes de Latitudes. Estos casos de estudio trazan enfoques de índole editorial (The Last Newspaper, New Museum, Nueva York (2010)); como organización participante (las dos ediciones del festival No Soul for Sale: A Festival of Independents en X Initiative, Nueva York (2009) y en Tate Modern (2010)); y en un ciclo expositivo anual ('Amikejo', MUSAC, León (2011)).
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
The Last Newspaper exhibition catalogue, New Museum, New York, 2010–11.
Lecture within the cycle "Cultural Professions", Aula de Cultura Caja Mediterráneo, Murcia, 17 October, 20h. Free.
Mariana Cánepa Luna of Latitudes will discuss the role of the curator in the context of three of Latitudes' recent projects. These case studies trace Latitudes' approach in an editorial context (The Last Newspaper, New Museum, New York (2010)); a year-long exhibition series ('Amikejo', MUSAC, León (2011)) and as an invited organisation (the two editions of No Soul for Sale: A Festival of Independents in X Initiative, New York (2009) and Tate Modern (2010)).
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
All photos: Latitudes | www.lttds.org
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Latitudes to facilitate the Nature Addicts Fund Travelling Academy, 11–15 September 2012, organised within the Maybe Education and Public Programs of dOCUMENTA (13), Kassel
Mon, Sep 3 2012
Photo: Latitudes
Fifteen European artists have been selected by the fund to discuss their work, participate in performances and guided tours by dOCUMENTA (13) artists Maria Thereza Alves, Toril Johannessen and Claire Pentecost, and attend the two-day conference On Seeds and Multispecies Intra-Action: Disowning Life on September 10 and September 15, organised within the Maybe Education and Public Programs of dOCUMENTA (13).
The artists participating in this iteration of the Nature Addicts Fund Travelling Academy are (in alphabetical order): Ackroyd/Harvey, UK; Geir Backe Altern, N; Linus Ersson, SW; Aurélien Gamboni, FR/CH; Fernando Garcia Dory, ES; Mustafa Kaplan, TU; Zissis Kotionis, GR; Julia Mandle, USA/NL; Clare Patey, UK; Erik Samakh, FR; Asa Sonjasdotter, SW/D; Elisa Strinna, IT; Mette Ingvarsten, DK.
Latitudes ha sido invitada a facilitar los encuentros de la primera Nature Addict Fund Traveling Academy que tendrá lugar entre el 11 y 15 de septiembre 2012, coincidiendo con la clausura de dOCUMENTA (13) en Kassel.
Friedrichsplatz, Kassel. Photo: Latitudes.
[Español]Latitudes ha sido invitada a facilitar los encuentros de la primera Nature Addict Fund Traveling Academy que tendrá lugar entre el 11 y 15 de septiembre 2012, coincidiendo con la clausura de dOCUMENTA (13) en Kassel.
Quince artistas han sido seleccionados por la fundación para presentar su trabajo, participar en performances y visitas guiadas por las artistas participantes en dOCUMENTA (13) Maria Thereza Alves, Toril Johannessen y Claire Pentecost, así como asistir a los dos días de la conferencia On Seeds and Multispecies Intra-Action: Disowning Life que tendrá lugar el 10 septiembre y 15 septiembre, organizada por el Maybe Education and Public Programs de dOCUMENTA (13).
Lxs artistas participantes en esta edición de la Nature Addicts Fund Travelling Academy son (en orden alfabético): Ackroyd/Harvey, UK; Geir Backe Altern, N; Linus Ersson, SW; Aurélien Gamboni, FR/CH; Fernando Garcia Dory, ES; Mustafa Kaplan, TU; Zissis Kotionis, GR; Julia Mandle, USA/NL; Clare Patey, UK; Erik Samakh, FR; Asa Sonjasdotter, SW/D; Elisa Strinna, IT; Mette Ingvarsten, DK.
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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.
Conferencia "El contrato curatorial: analogías y casos de estudio". Jueves 14 Junio a las 20h, CGAC, Santiago de Compostela
Tue, Jun 12 2012
'The Last..." los diez números semanales que conforman el catálogo final de la exposición "The Last Newspaper" (New Museum, 2010).
Foto: Latitudes | www.lttds.org
| ES |
"El contrato curatorial: analogías y casos de estudio" analiza modelos extraídos de personajes de la cultura popular así como la terminología legal que pueden ayudarnos a definir algunos de los códigos éticos y profesionales que se establecen entre artistas y comisarios. A través del proyecto editorial 'The Last Newspaper' realizado por Latitudes en el New Museum en el 2010, se especulará sobre dicha relación y sobre como ésta dialoga con el público como participante del proceso curatorial.
"El contrato curatorial: analogías y casos de estudio" analiza modelos extraídos de personajes de la cultura popular así como la terminología legal que pueden ayudarnos a definir algunos de los códigos éticos y profesionales que se establecen entre artistas y comisarios. A través del proyecto editorial 'The Last Newspaper' realizado por Latitudes en el New Museum en el 2010, se especulará sobre dicha relación y sobre como ésta dialoga con el público como participante del proceso curatorial.
Conferencia organizada en colaboración con el Máster en Arte, Museología y Crítica Contemporáneas, Universidad de Santiago de Compostela, donde Latitudes será profesor invitado el viernes 15 Junio, y donde discutirá algunos de sus proyectos incluídos No Soul for Sale (en X Initiative y en Tate Modern), Portscapes, Campus y Amikejo.
CGAC (Centro Galego de Arte Contemporánea)
CGAC (Centro Galego de Arte Contemporánea)
Rúa Valle Inclán s/n
15704 Santiago de Compostela
T: 981 546619
| UK |
The lecture "The curatorial contract: analogies and case studies" draws from popular culture and legal terminology to help define some of the ethical and professional codes at work between artists and curators. Through the editorial project 'The Last Newspaper' developed by Latitudes at the New Museum in 2010, the presentation will speculate on this relationship and how it dialogues with the public-as-participant.
Conference organised in collaboration with the Máster en Arte, Museología y Crítica Contemporáneas where on June 15, Latitudes will be visiting lecturers and discuss a range of their projects including No Soul for Sale (at X Initiative and at Tate Modern), Portscapes, Campus and Amikejo.
CGAC (Centro Galego de Arte Contemporánea)
Rúa Valle Inclán s/n
15704 Santiago de Compostela
T: 981 546619
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.
15704 Santiago de Compostela
T: 981 546619
Commissioner Gordon calls Batman: the institutional alliance with those operating outside the law.
| UK |
The lecture "The curatorial contract: analogies and case studies" draws from popular culture and legal terminology to help define some of the ethical and professional codes at work between artists and curators. Through the editorial project 'The Last Newspaper' developed by Latitudes at the New Museum in 2010, the presentation will speculate on this relationship and how it dialogues with the public-as-participant.
Conference organised in collaboration with the Máster en Arte, Museología y Crítica Contemporáneas where on June 15, Latitudes will be visiting lecturers and discuss a range of their projects including No Soul for Sale (at X Initiative and at Tate Modern), Portscapes, Campus and Amikejo.
CGAC (Centro Galego de Arte Contemporánea)
Rúa Valle Inclán s/n
15704 Santiago de Compostela
T: 981 546619
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.
(Part 1) In pictures: Fifth March Meeting, 17–19 March 2012, Sharjah, United Arab Emirates
Sun, Mar 25 2012
Sign marking directions to the March Meeting venues.
Latitudes participated in the March Meeting (17–19 March 2012), a three-day symposium organised by the Sharjah Art Foundation which featured presentations by around 80 artists, art professionals and institutions working on the production and presentation of art. The programme of this fifth edition focused on Working With Artists and Audiences on Commissions and Residencies and comprised a series of lectures, debates and breakout sessions that took place in Dar Al Nadwa and other locations around Sharjah's Heritage Area.
More images of the fifth March Meeting and other related events on our Flickr.
More images of the fifth March Meeting and other related events on our Flickr.
Arrival day – Tour to the Barjeel Art Foundation (collection of Sultan Bin Sooud Al-Qassemi) and the Maraya Art Centre, Al Qasba.
The opening of the exhibition "Ziad Antar: Portrait of a Territory" by Lebanese artist Ziad Antar, Collections Building, Heritage Area, Sharjah. Curated by Christine Macel, Chief Curator, Musée National D’Art Moderne Centre Pompidou Paris.
Day 1 – Registration desk at Dar Al Nadwa in Sharjah's Calligraphy Square, the venue where most of the talks took place.
As announced in a previous post, Latitudes presented on the first day two case studies of commissions and residencies as participants in the panel "Minding the Gap: the Critical Role of Smaller Organisations" alongside Hu Fang (Vitamin Creative Space, China), Daniella Rose King (MASS Alexandria, Egypt) and moderated by Samar Martha (ArtSchool Palestine, Palestine).
Panel "Minding the Gap: the Critical Role of Smaller Organisations". Photo: Alfredo Rubio/Sharjah Art Foundation
Latitudes during their presentation. Photo: Alfredo Rubio/Sharjah Art Foundation.
Firstly, Latitudes introduced the commission in the context of 'Portscapes' that was developed from its invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA) to live and work for a month in Rotterdam's Maasvlakte, and secondly, presented a commission addressed to Latitudes in the context of 'The Last Newspaper' in which we worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition.
Lunch breaks took place at the beautiful Bait Al Naboodah, a two-storey house from 1845.
Plaque marking the entrance to the Bait Obaid Bin Eissa Al Naboodah house.
Guests were treated to wonderful Emirati food.
At the end of the first day, the film "1395 Days without Red" by Anri Sala was premiered at Sharjah's Institute of Theatrical Arts. Šejla Kameric's film was screened on the 18 March at the courtyard of Bait Al Shamsi, Arts Area, Sharjah. Commissioned by UK's Artangel.
Second day – Panellists getting ready for the discussion on "The Importance of Site". With Yusaku Imamura (Tokyo Wonder Site, Japan), Adam Sutherland (Grizedale Arts, UK), Khalil Abdulwahid (Dubai Culture and Arts Authority, UAE), Lu Jie (Long March Space, China) and moderated by Anne Barlow (Art in General, USA).
Day 2 – Panel "Artist as nomad" with Basma Alsharif, Ziad Antar, Šejla Kamerić, Nikolaj Bendix Skyum Larsen and moderated by Sama Alshaibi (University of Arizona, USA).
Day 3 – Panel "The Biennial as Commissioning Agent" with Paul Domela (Liverpool Biennial, UK), Yuko Hasegawa (Museum of Contemporary Art Tokyo, Japan & curator of the forthcoming Sharjah Biennial 2013), Abdellah Karroum (independent art researcher, publisher and curator, Morocco), Riyas Komu (Kochi Biennale Foundation, India) and moderated by Marieke van Hal (Biennial Foundation, Greece).
Sheikha Hoor Al-Qasimi, President of the Sharjah Art Foundation, giving her closing remarks of the March Meeting 2012.
Day 3 – Final drinks and snacks at Bait Al Naboodah before Tarek Atoui's performance at the Calligraphy Square. During the drinks, Sheikha Hoor Al-Qasimi announced the recipients of the 2012 Production Grants worth a total of 200,000 U$: Sean Gullette, Mario Rizzi and Lindsay Seers. The grants were judged by PS1 curator Peter Eleey, artist Isak Berbic, and Sharjah Art Foundation President Hoor Al Qasimi. More here.
Impressive setting for Tarek Atoui's performance "Revisiting Tarab" at the Calligraphy Square. Photo: Sharjah Art Foundation.
Tarek Atoui's (Lebanon 1980, lives in Paris) 5.5-hour-long incredible performance "Revisiting Tarab" involved the participation of 17 musicians and sound artists. Atoui writes:
"Tarab" is used in Arab culture to describe the emotional effect of music, and refers to the older repertoire rooted in the pre-World War I musical practice of Egypt and the East Mediterranean Arab world. In the occasion of Performa 2011, Atoui invited musicians and sound artists to travel to Beirut to explore the world's most extensive collection of Classical Arab music owned by Lebanese collector Kamal Kassar, which comprises over 5,000 old 78rpm shellac discs and tapes dating from 1903 to 1950s. Participants selected excerpts from the collection and independently composed their own interpretations of both the content and its possibilities in relation to the history of "Tarab".
(...) The structure and orchestration of the "Re-visiting Tarab" performance is inspired by the rules of the traditional wasla –literally meaning a connection or chaining together. In Egyptian music and Near East is a suite of several vocal and instrumental pieces composed and improvised anchored to the same maqam or harmonic mode– that compiles and shifts between musical forms such as the dulab – a short melodic and rhythmic introduction – the taqsim – an instrumental solo improvisation– and the muwashah – a song based on an Arab-Andalusian or Oriental poem. The performance was produced by Sharjah Art Foundation with the support of AMAR Foundation. More info: http://www.visitingtarab.com
20 March: Guests waiting to take the bus to Kalba opposite the Sharjah Art Museum.
On the last day a group of guests and journalists were taken 110km from Sharjah city to Kalba, the third most important city in the Emirate, on its east coast, whose road extends up to the border with Oman. Here the Sharjah Art Foundation is currently readapting a 200m2 concrete building by the creek to become the Kalba Art Centre, planned to open in a years time. (Ziad Antar’s ongoing exhibition "Portrait of a Territory" at Sharjah's Collection Building, includes photo documentation of this coastline taken between 2004 and 2011.)
holds a map of the area where Kalba's future art centre will be while Hisham Al Madhloum, director of the Sharjah Directorate of Art, points out the location and particularities of Kalba and its surroundings.
Bus nearby Kalba's creek, a mangrove swamp.
The future site of the Kalba Art Centre occupies a total area of 13,000 m2 and in the 1970s was originally intended to be used as a fish fertiliser factory but is now intermittently used as an ice factory and a boat repair shop. The former factory will have a space for exhibitions, a cafeteria, spaces for workshops and host artist residencies, and will be managed and programmed by the Sharjah Art Foundation.
Façade of the future Kalba Art Centre. This triple height pitched space overlooks the protected mangroves and heritage area across the creek.
Interior space of the future Kalba Art Centre.
Back in Sharjah, we did a final tour to see the show "What should I do to live in your life?" at Bait Al Serkal, opposite the Sharjah Art Museum, which presented film works by Lee Kit, Minouk Lim, João Vasco Paiva, Part-time Suite and Yuk King Tan.
Entrance to Bait Al Serkal exhibition space.
All photos: Latitudes | www.lttds.org (except where noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Report in quotations from 'Talking Galleries', 19–21 September 2011, MACBA auditorium
Tue, Sep 20 2011A report in quotations from the first evening's two panels and the first session of the second day of Talking Galleries.
19 September 2011
15.30h: Welcome by
Ferran Mascarell, Regional Minister of Culture of the Generalitat
Jaume Ciurana, Deputy Mayor of Culture, Knowledge, Creativity and Innovation of Barcelona
Faustino Diaz Fortuny, Deputy Director General for the Promotion of Cultural Industries and Foundations and Patronage of the Ministry of Culture
Adriaan Raemdonck, President of FEAGA (Federation of European Art Galleries Association)
Llucià Homs, main promoter of the project TALKING GALLERIES
Bartomeu Marí, MACBA's Director
Llucià Homs: "according to an art market report commissioned by TEFAF (The European Fine Art Foundation), 51% of the art business is done by gallerists and 49% by auction houses. 30% of that is done in art fairs."
Faustino Diaz: "Galeries are the basis for the construction of value". "Galleries are a fundamental cultural sector for the economic development of knowledge".
Mascarell: "Talking Galleries should connect Catalan art to the international trends and vice-versa". "Artists are the ones making sense of our world".
16.00 h: 'The new role of the Gallerist in the art market' with:
Casey Kaplan, Casey Kaplan Gallery (New York)
Claes Nordenhake, Galerie Nordenhake (Berlín, Stockholm)
Emilio Álvarez, Galeria Àngels Barcelona (Barcelona)
Moderated by: Ann Demeester, Director of De Appel Arts Centre (Amsterdam)
Ann Demeester: "We are not able to project a 20-50 year future anymore"..."are galleries going to become agencies for artists or are they able to foster new experiments in a globalised 21st century?"; "Collaboration should not be an enemy of competition"; "Galleries are a site for free education"; "A gallery should perform an informal efficiency"
Emilio Álvarez: "The work of a gallery is articulated in connection with the past. Memory gives meaning, one constructs value through time". "Circuits of the artworld are closed, although the product we present is open."; "A gallery has a ongoing relationship with an artist and shows him/her continuously over time, no institution will give a solo show to an artist 3 times"; "A gallery has a single monogamous relationship, museums have plural relationships with artists."
Casey Kaplan: We (with David Zwirner and Friedrich Petzel amongst others) have done New York Gallery Week (NYGW) twice now, but I don't think is necessary to repeat it again and again if, for instance, Frieze New York is starting in May 2012"; "We are taking the risks, we produce art, we research artists, basically we do it first and then everyone follows";"A gallery is about trust in your artists and them in you. Is a small family extension that grows organically. It's also about constant reinvestment in a new space, in a new piece, in shipping ridiculous works to art fairs to show your ambition."
Claes Nordenhake: "New art should be shown in galleries first, thereafter in art fairs, kunsthalles, etc. Not the other way around!"; "A gallerist is an eternal improvisor, a cleaner, a guard, an interior designer, a carpenter, a shipping agent, a graphic designer, a bookeeper, an art historian, a teacher and sometimes a professor, a therapist, a pimp and sometimes a lover, a storage administrator, a divorce councilor, a good banker, a sympathetic drinking companion, an arrogant bastard, an interpreter, a travel agent, a cook (professional or amateur), a waiter, a restaurateur, a philosopher (or at least in late hours of the night...), an actor, a business strategist, a secretary (where the boss is the artist)...
18.00 h: 'Dealing with the economic crisis' with
Georgina Adam, Journalist Financial Times (London)
Robert Tornabell, Professor of Economics at ESADE Business School (Barcelona)
Soledad Lorenzo, Galería Soledad Lorenzo (Madrid)
Moderated by: Carlos Urroz, Director ARCOmadrid (Madrid)
Dr. Robert Tornabell: "The most profitable investments are first art, then gold, and then...I don't know!"
Georgina Adam: "The size of the market is U$ 43 billion: 21 bn in auction, 22 bn in dealership. The global share in 2006 breaks up in 46% for the US; 27% for UK, 6% for France; 5% for China, 16% Others. In 2010 is 34% for the US; 22% for UK, 5% for France, a huge increase to 23% for China and, 15% Others". "Today, there are 20 top auction houses, 11 of which are chinese, which did not exist a decade ago"; "Today money is not inherited, it is made."
20 September 2011
10.00 h: 'The future of art fairs' with
Victor Gisler, Mai 36 Galerie (Zurich)
Noah Horowitz, Director VIP Art Fair (New York)
Pierre Huber, Galerie Art & Public (Geneva)
Moderated by: Carles Guerra, Chief Curator of the MACBA (Barcelona)
Carles Guerra: "Barcelona was considering initiating a fair, but with ARCOmadrid nearby and seeing how profits stand now, maybe a meeting amongst professionals such as this, is the way forward"
Noah Horowitz: "The 1970s market was trade; today it's retail and event-led" ; "Going back to TEFAF's figures: 30% of the business is done in fairs, that's obviously an average figure because for some galleries fairs are 70% of their year sales"; "The VIP Art Fair is accessible, international, transparent, communicative, it is still a one-to-one relationship with the buyer"
Victor Gisler: "A gallery shows – tells – sells". "Art fairs like Art Basel have become so hugely important that they now validate quality. If an artits hasn't been shown in Basel, it may seem not valuable". "Initiatives like the VIP Art Fair are great for telling, maybe not so much for selling, but it is online, and that is the language of the next generation which you can not neglect, and one must embrace."
Biographies of the speakers
More about Talking Galleries.
Follow #talkinggalleries
2011, ARCO, Art Basel, art fairs, arte contemporáneo, artworld, Carles Guerra, conference, Frieze Art Fair, MACBA, Spanish Art Scene, talk
19 September 2011
15.30h: Welcome by
Ferran Mascarell, Regional Minister of Culture of the Generalitat
Jaume Ciurana, Deputy Mayor of Culture, Knowledge, Creativity and Innovation of Barcelona
Faustino Diaz Fortuny, Deputy Director General for the Promotion of Cultural Industries and Foundations and Patronage of the Ministry of Culture
Adriaan Raemdonck, President of FEAGA (Federation of European Art Galleries Association)
Llucià Homs, main promoter of the project TALKING GALLERIES
Bartomeu Marí, MACBA's Director
Llucià Homs: "according to an art market report commissioned by TEFAF (The European Fine Art Foundation), 51% of the art business is done by gallerists and 49% by auction houses. 30% of that is done in art fairs."
Faustino Diaz: "Galeries are the basis for the construction of value". "Galleries are a fundamental cultural sector for the economic development of knowledge".
Mascarell: "Talking Galleries should connect Catalan art to the international trends and vice-versa". "Artists are the ones making sense of our world".
16.00 h: 'The new role of the Gallerist in the art market' with:
Casey Kaplan, Casey Kaplan Gallery (New York)
Claes Nordenhake, Galerie Nordenhake (Berlín, Stockholm)
Emilio Álvarez, Galeria Àngels Barcelona (Barcelona)
Moderated by: Ann Demeester, Director of De Appel Arts Centre (Amsterdam)
Emilio Álvarez: "The work of a gallery is articulated in connection with the past. Memory gives meaning, one constructs value through time". "Circuits of the artworld are closed, although the product we present is open."; "A gallery has a ongoing relationship with an artist and shows him/her continuously over time, no institution will give a solo show to an artist 3 times"; "A gallery has a single monogamous relationship, museums have plural relationships with artists."
Casey Kaplan: We (with David Zwirner and Friedrich Petzel amongst others) have done New York Gallery Week (NYGW) twice now, but I don't think is necessary to repeat it again and again if, for instance, Frieze New York is starting in May 2012"; "We are taking the risks, we produce art, we research artists, basically we do it first and then everyone follows";"A gallery is about trust in your artists and them in you. Is a small family extension that grows organically. It's also about constant reinvestment in a new space, in a new piece, in shipping ridiculous works to art fairs to show your ambition."
Claes Nordenhake: "New art should be shown in galleries first, thereafter in art fairs, kunsthalles, etc. Not the other way around!"; "A gallerist is an eternal improvisor, a cleaner, a guard, an interior designer, a carpenter, a shipping agent, a graphic designer, a bookeeper, an art historian, a teacher and sometimes a professor, a therapist, a pimp and sometimes a lover, a storage administrator, a divorce councilor, a good banker, a sympathetic drinking companion, an arrogant bastard, an interpreter, a travel agent, a cook (professional or amateur), a waiter, a restaurateur, a philosopher (or at least in late hours of the night...), an actor, a business strategist, a secretary (where the boss is the artist)...
18.00 h: 'Dealing with the economic crisis' with
Georgina Adam, Journalist Financial Times (London)
Robert Tornabell, Professor of Economics at ESADE Business School (Barcelona)
Soledad Lorenzo, Galería Soledad Lorenzo (Madrid)
Moderated by: Carlos Urroz, Director ARCOmadrid (Madrid)
Dr. Robert Tornabell: "The most profitable investments are first art, then gold, and then...I don't know!"
Georgina Adam: "The size of the market is U$ 43 billion: 21 bn in auction, 22 bn in dealership. The global share in 2006 breaks up in 46% for the US; 27% for UK, 6% for France; 5% for China, 16% Others. In 2010 is 34% for the US; 22% for UK, 5% for France, a huge increase to 23% for China and, 15% Others". "Today, there are 20 top auction houses, 11 of which are chinese, which did not exist a decade ago"; "Today money is not inherited, it is made."
20 September 2011
10.00 h: 'The future of art fairs' with
Victor Gisler, Mai 36 Galerie (Zurich)
Noah Horowitz, Director VIP Art Fair (New York)
Pierre Huber, Galerie Art & Public (Geneva)
Moderated by: Carles Guerra, Chief Curator of the MACBA (Barcelona)
Carles Guerra: "Barcelona was considering initiating a fair, but with ARCOmadrid nearby and seeing how profits stand now, maybe a meeting amongst professionals such as this, is the way forward"
Noah Horowitz: "The 1970s market was trade; today it's retail and event-led" ; "Going back to TEFAF's figures: 30% of the business is done in fairs, that's obviously an average figure because for some galleries fairs are 70% of their year sales"; "The VIP Art Fair is accessible, international, transparent, communicative, it is still a one-to-one relationship with the buyer"
Victor Gisler: "A gallery shows – tells – sells". "Art fairs like Art Basel have become so hugely important that they now validate quality. If an artits hasn't been shown in Basel, it may seem not valuable". "Initiatives like the VIP Art Fair are great for telling, maybe not so much for selling, but it is online, and that is the language of the next generation which you can not neglect, and one must embrace."
Biographies of the speakers
More about Talking Galleries.
Follow #talkinggalleries
Hinterland Symposium: 'The evolving relationships between artists, the changing climate and new responsibilities', 26 November, Nottingham, UK
Tue, Nov 24 2009
The evolving relationships between artists, the changing climate and new responsibilities
Hinterland are inviting specialists in the field of commissioning temporary site-specific art to present their practice. Alongside informal discussions with artists currently engaged in commissions for Hinterland, this one day event will question the responsibilities of artists when creating work in the public realm. Biographies of the speakers here.
Conference programme
[Registration starts at 9.30am promptly so talks can begin at 10am in Screen 2.]
10.30am Joy Sleeman
11.10am Latitudes (Max Andrews and Mariana Cánepa Luna)
12.20pm Lunch
1.20pm Wallace Heim in conversation with Rebecca Beinart
2.05pm Richard Grayson in conversation with John Newling
3.30pm Neil Cummings in conversation with Annexinema (Emily Wilczek and Ian Nesbitt)
4.15pm Jonathan Griffin in conversation with S Mark Gubb
Film Screening 6pm onwards
Mark Harasimowicz and Tristan Hessing invite symposium delegates from Broadway to One Thoresby Street studios in Sneinton for the preview of a new film installation.
Harasimowicz and Hessing spent time cycling around Europe exploring contemporary and abandoned industrial space. Hinterland has commissioned a new work, which marks a new artistic partnership between the two artists.
Bookings: Contact Broadway Box Office, Tel. 0115 952 6611 or book online www.broadway.org.uk
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Hinterland is a project led by independent curator, Jennie Syson. Working together with artists, Hinterland closely examines the areas that surround the River Trent in Nottingham which make up a ten mile car free cycle route around the city known as the Big Track. As we head towards economic depression and society becomes increasingly aware of issues surrounding global warming and the natural environment, Hinterland pays tribute to the geographical locations and the industrial halo that surrounds Nottingham’s city centre.
Sharjah Biennial 8 (2007) part 2 publication with proceedings of the 3-day conference organised by Latitudes and the RSA, London
Mon, Oct 26 2009
Edited by Joseph R Wolin
Paperback
567 pages, 299 visuals. Softcover 350g. Art Matt Card
Paper: 80g. offset wood free and 135 g. Art Matt24 x 16 cm
English and Arabic
Published by Sharjah Biennial, 2008ISBN 978-9948-04-328-6 Part II
The recently published vol. II of the catalogue of the Sharjah Biennial 8 [25º 22’N, 55º 24’E] titled 'Still Life: Art, Ecology and the Politics of Change (Part II)' includes installation shots of the exhibition as well as proceedings of the 3-day conference Latitudes organised in collaboration with the Royal Society of Art's Arts & Ecology programme (today the RSA Arts and Ecology Centre) (+ info). The book is a companion to volume I, published to coincide with the Biennial’s opening.
The symposium (images here) considered today’s uses and abuses of the ‘eco-’, notions of artistic agency and critical practice, as well as the role of the public realm in today’s artistic and institutional practices. How has it become fashionable (or profitable) to be seen to be eco? How has what we mean by ecology been transformed and evolved through the uses of terms such as ‘environmental’, ‘green’, ‘ethical living’, and so on?; How do some artists desire palliative results, while others offer strategies of friction or resistance? How far are the sources of materials a consideration for artists, designers and architects? And how does this relate to broader questions of resources—water, energy, oil in the Emirate and beyond?
The symposium included focused presentations by keynote speakers such as Bruce Sterling (read his paper here), critical panels by biennial artists Sergio Vega or Peter Fend as well as by Van Abbemuseum director and Sharjah Biennial juror Charles Esche, or Smart Museum's Curator of Contemporary Art Stephanie Smith, as well as breakout seminars with biennial artists Tomás Saraceno and Michael Rakowitz.
You can download the symposium programme, the exhibition guide and view press-related materials in this archive.
The recently published vol. II of the catalogue of the Sharjah Biennial 8 [25º 22’N, 55º 24’E] titled 'Still Life: Art, Ecology and the Politics of Change (Part II)' includes installation shots of the exhibition as well as proceedings of the 3-day conference Latitudes organised in collaboration with the Royal Society of Art's Arts & Ecology programme (today the RSA Arts and Ecology Centre) (+ info). The book is a companion to volume I, published to coincide with the Biennial’s opening.
The symposium (images here) considered today’s uses and abuses of the ‘eco-’, notions of artistic agency and critical practice, as well as the role of the public realm in today’s artistic and institutional practices. How has it become fashionable (or profitable) to be seen to be eco? How has what we mean by ecology been transformed and evolved through the uses of terms such as ‘environmental’, ‘green’, ‘ethical living’, and so on?; How do some artists desire palliative results, while others offer strategies of friction or resistance? How far are the sources of materials a consideration for artists, designers and architects? And how does this relate to broader questions of resources—water, energy, oil in the Emirate and beyond?
The symposium included focused presentations by keynote speakers such as Bruce Sterling (read his paper here), critical panels by biennial artists Sergio Vega or Peter Fend as well as by Van Abbemuseum director and Sharjah Biennial juror Charles Esche, or Smart Museum's Curator of Contemporary Art Stephanie Smith, as well as breakout seminars with biennial artists Tomás Saraceno and Michael Rakowitz.
You can download the symposium programme, the exhibition guide and view press-related materials in this archive.
Cover and Back Cover, 'Still Life: Art, Ecology and the Politics of Change (Part II)'. Photos: Sharjah Biennial.
