Marking 20 Years of Max Andrews as a Writer for Frieze Magazine
Tue, Jun 4 2024
- 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
Text on Crystal Bennes in the “Betwixt 2024” published by the Freelands Foundation
Mon, Feb 19 2024
(Above and below) Betwixt 2024 publication. Photos by Andy Stagg, Courtesy of the Freelands Foundation.
In February 2023, Latitudes was commissioned to write a text on the artistic practice of Crystal Bennes for “Betwixt 2024”, a publication produced by the Freelands Foundation as part of their Freelands Artist Programme initiative supporting emerging artists across the UK since 2018.
The book has now launched, coinciding with the opening of an exhibition across four sites in central and north London between 17–23 February 2024, in which Bennes participates alongside 19 other artists based in Belfast, Cardiff, Edinburgh, and Sheffield.
For the occasion, Bennes presents “When Computers Were Women” (2021), a project on the connections between the histories of computational and weaving technology, that stemmed from a residency at CERN (the European Organisation for Nuclear Research) in 2018 when she was struck by the formal similarities of the computer programming punchcards she saw in a cabinet and an older form of data-processing technology: the punch cards used to control the rods and hooks that raise the warp threads of looms fitted with Jacquard devices.Published in 2024, 370 pages. Designed by Kristin Metho.
Available for £15 (plus shipping) here.
A month later, on March 16, 2024, Bennes will present her new project “O (Copper, cotton, cobalt, crude, naphtha, bauxite, palm)” (2023) at Talbot Rice Gallery in Edinburgh, culminating her two-year residency there and at the Edinburgh College of Art on the Freelands Artist Programme. Involving tapestry, sculptural installation, video, and performance, her project addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton.
Latitudes’ text will also be available on the Talbot Rice Gallery website and in the gallery booklets for £2 at the venue.
A Classicist with a PhD from King’s College London, Dr Crystal Bennes previously worked in the U.S. Senate, and as an architecture and design journalist before retraining as an artist. She studied for an MFA at Aalto University, Helsinki, and École Nationale Supérieure des Beaux-Arts, Paris, and obtained a practice-based PhD at Northumbria University, Newcastle.
Her practice is grounded in long-term projects that foreground archival research, durational fieldwork, and material experimentation. Recent bodies of work include an ongoing photographic exploration of an artificial island in Sweden created entirely out of radioactive waste from industrially-produced synthetic fertiliser and the experimental recreation of a nineteenth-century hay meadow based on a myth of unintentional plant migration from Italy to Denmark.
Recent exhibitions include Platform: Early Career Artist Award, Edinburgh Art Festival (2023); Flora Italica, Thorvaldsens Museum, Copenhagen (2023); Mauvaise Herbes, Centre Photographique d’Ile-de-France; No Island is an Island, Landskrona Foto International Festival; and Hermes and the Veil, Gallery North, Newcastle (all 2021).
Klara and the Bomb (2022) her first photobook—charting connecting threads between the U.S.’s nuclear weapons research, women programmers, the invention of modern computers, and nuclear colonialism—was published by The Eriskay Connection in 2022, and it was shortlisted for the Photo Text Book Award at Les Rencontres d’Arles in 2023.
Between 2022 and 2024 she was a resident at Talbot Rice Gallery as part of a Freelands Foundation Artists programme. Together with Tom Jeffreys, she is the editor of The Peninent Review.
RELATED CONTENT:
- Latitudes’ writing since 2005.
- Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli, 27 Oct 2023
- Text on Crystal Bennes for the Freelands Foundation Artists programme, 31 May 2023
- Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
- Max Andrews reviews Bruno Zhu’s exhibition “I am not afraid”, Cordova, Barcelona, 30 Mar 2022
- Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022
- New publication: “Things Things Say” now available, 28 Feb 2022
Cover Story, June 2023: Crystal Bennes futures
Thu, Jun 1 2023
The June 2023 monthly Cover Story “Crystal Bennes futures” is now up on our homepage: www.lttds.org
“Earlier this year, Latitudes was commissioned to write a text on the work of the America-born Scotland-based artist, researcher, writer and educator Crystal Bennes for the latest edition of the Freelands Artist Programme. ”
→ Continue reading (after June 2023 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 projects and activities.
- Archive of Monthly Cover Stories
- Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
- Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
- Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
- Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
- Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
- Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022
- Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy
Tue, Feb 1 2022
The February 2022 monthly Cover Story “” is now up on our homepage: www.lttds.org
“Protruding from three of MACBA’s columns like sails lashed to the masts of a ship, Rosa Tharrats’ Akaal / Selene \ Uluru (2021) is composed of layers of woven and printed cloth that have been stitched and fused together in combination with composites of homemade bioplastics—polymers made from biological sources such as seaweed and starch that have the potential to alleviate the growing problem of marine pollution.”
→ After February 2022 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 projects and activities.
- Archive of Monthly Cover Stories
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
- Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
- Cover Story–May 2021: RAF goes viral, 2 May 2021
- Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021
- Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021