'THE LAST REGISTER' AVAILABLE NOW! #3 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum
Wed, Oct 20 2010
Issue 3: The Last Register(READ IT ON ISSUU)
October 20, 2010
Cover: ‘Exhibit: Exposed!’. Installing 'The Last Newspaper' wall text
Report: ‘Reaction Distraction’: Gwen Schwartz on the TLN talk with participating artists Nate Lowman, Aleksandra Mir and Sarah Charlesworth
Focus: Doryun Chong on TLN artist Adrian Piper’s Vanilla Nightmares (1986)
Media Habits: Dora García
Dirt Sheet: Janine Armin on truth and fiction
Picture Agent: Sergio Vega
The Next Newspaper: Paul Schmelzer on the American Independent News Network
Feature: ‘Broadcasting’, Joe Salzman on the representation of the journalists on TV
Exclusive interview: Latitudes with TLN cartoonist Francesc Ruiz
‘Patricia Esquivias on...The French Revolution’
100 Years Ago…: New York Tribune
Feature: ‘Hyphen-ated’ by Stephen Spretnjak
Photo essay: ‘Behind the Scenes’, Installing ‘The Last Newspaper’
Cartoon: ‘The Woods: Scratch Lottery’ by Francesc Ruiz
Advertising: Ester Partegàs with Adam Shecter
Browse this or other newspaper on Latitudes' youtube channel.
This Week's Headlines
Philadelphia Newsstand (2010), installation at Temple Gallery, Philadelphia.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.
“Before the internet, newsstands were the closest thing we had to web browsing”
Barcelona-based artist Francesc Ruiz is creating ‘The Woods’, a specially-commissioned cartoon strip for the back cover of each of ‘The Last...’ newspapers. The Editors-in-Chief of ‘The Last Register’ caught up with him as he prepared for an exhibition in Cairo.
Latitudes: Is 'The Woods' a family, or is it a place?
Francesc Ruiz: They're kind of a family or a community, as well as a place. The name was inspired by the last part of François Truffaut’s 1966 film based on Ray Bradbury’s 1953 novel Fahrenheit 451. It’s set in a totalitarian society in which books have been made illegal and are being burned. A group of people go into hiding in the woods and decide to memorize great works of literature. They create a community that transmits books orally from generation to generation. Each of them incorporates a different book: there are five ‘Moby Dick’s, four ‘Don Quixote’s, and so on. It talks about the power of human knowledge to adapt to difficult and new situations, which is something that – although under a completely different perspective – is happening right now with the threat to printed matter and the adaptation of content to new formats. In ‘The Woods’ I'm using the city newsstand, magazines and newspapers, as a way of talking about different lifestyles, about specialization and ideology. I want to create a kind of masquerade ball in which everybody is represented or at least plays a role in the social architecture, something also very related to web 2.0 and platforms such as Facebook.
Barcelona-based artist Francesc Ruiz is creating ‘The Woods’, a specially-commissioned cartoon strip for the back cover of each of ‘The Last...’ newspapers. The Editors-in-Chief of ‘The Last Register’ caught up with him as he prepared for an exhibition in Cairo.
Latitudes: Is 'The Woods' a family, or is it a place?
Francesc Ruiz: They're kind of a family or a community, as well as a place. The name was inspired by the last part of François Truffaut’s 1966 film based on Ray Bradbury’s 1953 novel Fahrenheit 451. It’s set in a totalitarian society in which books have been made illegal and are being burned. A group of people go into hiding in the woods and decide to memorize great works of literature. They create a community that transmits books orally from generation to generation. Each of them incorporates a different book: there are five ‘Moby Dick’s, four ‘Don Quixote’s, and so on. It talks about the power of human knowledge to adapt to difficult and new situations, which is something that – although under a completely different perspective – is happening right now with the threat to printed matter and the adaptation of content to new formats. In ‘The Woods’ I'm using the city newsstand, magazines and newspapers, as a way of talking about different lifestyles, about specialization and ideology. I want to create a kind of masquerade ball in which everybody is represented or at least plays a role in the social architecture, something also very related to web 2.0 and platforms such as Facebook.
L: Where if anywhere do you draw the lines between art and design, or artists and designers?
FR: It’s all about self-consciousness and a critical perspective. As long as cultural object producers (which is what I consider both artists and designers to be) look at their work as something critically produced, to me it makes no sense to establish differences. Looking at it from a slightly different angle, someone asked me recently if I’d ever produced a ‘mainstream’ comic. I think comic books and design can be understood in different ways, just as both experimental cinema and popular cinema coexist. I try to work on the experimental side, but whether this work is read as art or not depends entirely on the context in which it’s received.
L: Can our readers follow the cartoon strip as an ongoing narrative?
FR: No it doesn't follow a linear narrative – each issue shows a situation. The whole cartoon strip creates a series of scenes which build on my recent experiences working with a newsstand scenario before in Philadelphia, and now in Cairo. I did consider creating something more narrative-led using characters that keep reappearing but decided against it.
Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.
L: Specialist magazines target a public that has already been identified, yet they can also create new and perhaps unexpected followings. How does the newsstand feature in this relationship?
FR: Before the internet, newsstands were the closest thing we had to a web browsing experience. You could go there, buy specialist papers and magazines, check out the contacts sections, the classified ads, and see all the niches you could initiate yourself into. Through the printed press you were able to discover new things, it was the main knowledge distribution channel. With most of this now moving online the fetishistic element is not the same. Although there are some web-based attempts to create a similar interface to the newsstand, its visual power of the newsstand is unique. For me, a newsstand is a form of information architecture, a superstructure or a special building with inhabitants that change periodically. It’s an amazing tool with which to analyse the world and contemporary society. The matter of what will happen to newsstands as printed material begins disappears is something that is already visible: they're converting into lottery card retail points, as well as beverage and snack stands. But maybe they will have a different use in the future? I'm thinking of creating ‘The Newsstand Museum’, a museum with different newsstands from different countries and periods. Every stand will show the content exactly as it was in a specific time and place. For example September 10, 2001.
FR: Before the internet, newsstands were the closest thing we had to a web browsing experience. You could go there, buy specialist papers and magazines, check out the contacts sections, the classified ads, and see all the niches you could initiate yourself into. Through the printed press you were able to discover new things, it was the main knowledge distribution channel. With most of this now moving online the fetishistic element is not the same. Although there are some web-based attempts to create a similar interface to the newsstand, its visual power of the newsstand is unique. For me, a newsstand is a form of information architecture, a superstructure or a special building with inhabitants that change periodically. It’s an amazing tool with which to analyse the world and contemporary society. The matter of what will happen to newsstands as printed material begins disappears is something that is already visible: they're converting into lottery card retail points, as well as beverage and snack stands. But maybe they will have a different use in the future? I'm thinking of creating ‘The Newsstand Museum’, a museum with different newsstands from different countries and periods. Every stand will show the content exactly as it was in a specific time and place. For example September 10, 2001.
L: Can you tell us more about the Philadelphia project you mentioned, made for the Philagrafika 2010?
FR: I presented a newsstand for which I created all the printed content: a magazine formed by 120 covers and a newspaper which reproduced 12 different front pages. With these two publications, I was able to build the ‘skin’ of the newsstand. I added speech bubbles to the covers and recreated some important characters of the city mixed in with references to different neighbourhoods, institutions, shops and bars. My idea was to create an analogy of the city and my experiences, initial reactions and perhaps prejudices about Philly after having been there for just a short residency period. I added a narrative layer around three main subjects: the city as the place where graffiti culture started, the city through which the AIDS crisis was imagined in the 1993 film Philadelphia, and finally the city’s Mural Arts Program, a (successful to some) anti-graffiti initiative. Through the different layers of newsstand, I attempted to approximate the complexities of the city, as well as race, gender and class issues. I'm now creating a new newsstand for the Contemporary Image Collective in Cairo and it will take the form of a typical Egyptian street newsstand, only it will be made with newspapers covers that I've modified with a dialogue between the stones that are used as paperweights.
Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.
L: What difficulties and luxuries has this very particular format of the serial cartoon strip present to you as an artist?
FR: I made a comic strip series with artist Pauline Fondevila in which we explored the bars of a city nearby Barcelona. Basically, it was an autobiographical comic strip in which we drew ourselves getting drunk and having adventures. We published forty different comic strips and they were published daily, the problem was that after a while the energy and the inspiration weren't there any more – and we had very bad hangovers! On the one hand, it was very nice and a special format to play with in order to recreate worlds, but on the other, you end up feeling a little like a slave to the daily production process. This ten-week trial for ‘The Last Newspaper’ is a great period to develop another small universe – that's essentially what I'm trying to do. The weekly frequency is fine compared to a daily routine. I recently showed a daily comic strip for Creative Time Comics, but all of these projects need a lot of commitment.
L: Is there a particular newspaper cartoon you admire or took inspiration from?
FR: I don’t think Tales of the Beanworld by Larry Marder was ever published in a newspaper. I'm a big fan of George Herriman’s Krazy & Ignatz originally published daily in the New York Evening Journal, and that has always has been a source of inspiration to me. The genre ambiguity, the bricks, the accent of the characters and those amazing landscapes, I love it all! Of course, there are now a lot of people working on digital comic books and digital comic strips. It's interesting to see how scrolling works very well when reading linear narratives, actually better than the page-by-page structure. Scott McCloud is for me first author who successfully started to explore the potential of the comic book medium. But my favourite author is Kang Full, the Korean Manhwa webcomic artist. The funny thing is that he later prints his comics in paper format which entails a very interesting re-adaptation. And this seems a very apposite process for this period in between two regimes, the page-based former one and the web-based new one.
– Interview by Latitudes, October 2010
– Interview by Latitudes, October 2010
Forthcoming project: 'Vic Cambrils Barcelona...A Library Project', Midway Contemporary Art, Minneapolis
Tue, Oct 19 2010
| ENG |
'Vic Cambrils Barcelona / Verges Cervera Barcelona / Viladamat Castelldefels Barcelona / Vilafranca Cornella Barcelona / Valls Collserola Barcelona... A Library Project', Midway Contemporary Art, Minneapolis, from October 2010
Talk by Latitudes: Thursday 21st October, 7pm
In response to Midway Contemporary Art Library’s holdings of museum catalogues and books from publishing houses in Barcelona, Latitudes has assembled a counter-accession of around 50 self- and micro-published books and paper editions produced since 2005 by artists, designers, and curators based in Catalonia.
The publications will be displayed at Midway's Library throughout October–November 2010 before being absorbed into the library holdings. In addition to the book acquisition, Latitudes invited Barcelona-based artists Mariona Moncunill, Gabriel Pericàs, Mireia C. Saladrigues and Oriol Vilanova to intervene in the library through a series of bookmarks which will be inserted into undisclosed publications throughout the library for unsuspecting readers to encounter. + info...
Mariona Moncunill looked for a book in her personal collection also held by the Midway library and found that there was only one: 'Inside the White Cube' by Brian O'Doherty. For a year, on every first Thursday of the month she will read the first paragraph on page 61 hoping to establish a temporary window that connects her to the reader.
Gabriel Pericàs's intervention consists in inserting four printed sheets with textual references that seem to supplement the content of the pages between which they are encountered. These carefully crafted 'wiki-fictions' appear to be printouts from the web, yet their spurious URL addresses might lead readers to doubt their veracity.
Mireia C. Saladrigues emphasized the formal correspondence between a book page in 'Introduction to a Scientific Aesthetic: Dora García and Matthew Buckingham' and another in 'Pure Association, Ryan Gander' by pasting elements into one another. Motivated by a 'happy encounter' and the associative nature of Gander's work, Saladrigues was interested in exchanging distant elements that at first glance seem to have nothing in common.
Oriol Vilanova's intervention focusses on the catalogue 'Fugitive Artist. The Early Works of Richard Prince, 1974-1977' (2007), a publication for which Prince refused permission to reproduce any images, thus leaving the illustrations blank. Vilanova re-inscribed this invisible history by inserting surrogate images taken from contemporary astronomy magazines.
| CAST |
'Vic Cambrils Barcelona / Verges Cervera Barcelona / Viladamat Castelldefels Barcelona / Vilafranca Cornella Barcelona / Valls Collserola Barcelona... Proyecto para una biblioteca', Midway Contemporary Art, Minneapolis, desde Octubre 2010
Presentación de Latitudes: Jueves 21 Octubre, 19h
En respuesta a los fondos adquiridos por la Biblioteca del Midway Contemporary Art entorno a publicaciones de museos y reconocidas editoriales de Barcelona, Latitudes ha reunido una contra-propuesta de unos 50 proyectos micro-editoriales o ‘auto-publicaciones’ producidos por diseñador/es, comisarios/as y artista/s en Cataluña a partir del 2005.
Las publicaciones se exhibirán en Midway durante octubre-noviembre antes de ser ‘absorbidas’ por los fondos de la biblioteca. Junto a esta nueva adquisición, Latitudes invitó a los artistas barceloneses Mariona Moncunill, Gabriel Pericàs, Mireia C. Saladrigues y Oriol Vilanova a producir puntos de libro que serán insertados 'silenciosamente' en algunos libros de la biblioteca y que en el futuro serán encontrados por desprevenidos lectores. + info...
Mariona Moncunill localizó un libro de su colección personal que compartiese con la biblioteca del Midway y encontró que sólo compartían uno: 'Inside the White Cube' de Brian O'Doherty. Durante un año, el primer jueves de cada mes, Moncunill leerá el primer párrafo de la página 61, con la esperanza de establecer una ventana temporal que la conecte a un lector desconocido.
La intervención de Gabriel Pericàs consiste en la inserción de cuatro folios impresos que parecen complementar el contenido de las páginas entre las que se encuentran. Estas 'wiki-ficciones' han sido cuidadosamente elaboradas y parecen ser impresas directamente de la web, sin embargo, sus cuestionables direcciones URL hacen dudar al lector sobre su veracidad.
Mireia C. Saladrigues enfatizó la correspondencia formal entre una página del libro de 'Introducción a la lógica científica: Dora García y Matthew Buckingham' y otra en 'Pura asociación, Ryan Gander' intercambiando elementos entre ambos. Motivada por una 'feliz coincidencia' y por la naturaleza asociativa de la obra de Gander, Saladrigues se ha centrado en el intercambio de elementos distantes que a primera vista parecen no tener nada en común.
La intervención de Oriol Vilanova se centra en el catálogo de 'Fugitive Artist. The Early Works of Richard Prince, 1974-1977' (2007), publicación para la que Prince negó el permiso de reproducción de cualquier imagen de su obra, dejando así las ilustraciones en blanco. Vilanova reinscribe esta invisible historia mediante la inserción de imágenes de revistas de astronomía contemporánea.
Midway Contemporary Art
527 Second Ave Southeast
55414 Minneapolis, MN
United States
MAP
Gabriel Pericàs, Mariona Moncunill, Midway Contemporary Art, Minneapolis, Mireia Saladrigues, Oriol Vilanova
'Vic Cambrils Barcelona / Verges Cervera Barcelona / Viladamat Castelldefels Barcelona / Vilafranca Cornella Barcelona / Valls Collserola Barcelona... A Library Project', Midway Contemporary Art, Minneapolis, from October 2010
Talk by Latitudes: Thursday 21st October, 7pm
In response to Midway Contemporary Art Library’s holdings of museum catalogues and books from publishing houses in Barcelona, Latitudes has assembled a counter-accession of around 50 self- and micro-published books and paper editions produced since 2005 by artists, designers, and curators based in Catalonia.
The publications will be displayed at Midway's Library throughout October–November 2010 before being absorbed into the library holdings. In addition to the book acquisition, Latitudes invited Barcelona-based artists Mariona Moncunill, Gabriel Pericàs, Mireia C. Saladrigues and Oriol Vilanova to intervene in the library through a series of bookmarks which will be inserted into undisclosed publications throughout the library for unsuspecting readers to encounter. + info...
Mariona Moncunill looked for a book in her personal collection also held by the Midway library and found that there was only one: 'Inside the White Cube' by Brian O'Doherty. For a year, on every first Thursday of the month she will read the first paragraph on page 61 hoping to establish a temporary window that connects her to the reader.
Gabriel Pericàs's intervention consists in inserting four printed sheets with textual references that seem to supplement the content of the pages between which they are encountered. These carefully crafted 'wiki-fictions' appear to be printouts from the web, yet their spurious URL addresses might lead readers to doubt their veracity.
Mireia C. Saladrigues emphasized the formal correspondence between a book page in 'Introduction to a Scientific Aesthetic: Dora García and Matthew Buckingham' and another in 'Pure Association, Ryan Gander' by pasting elements into one another. Motivated by a 'happy encounter' and the associative nature of Gander's work, Saladrigues was interested in exchanging distant elements that at first glance seem to have nothing in common.
Oriol Vilanova's intervention focusses on the catalogue 'Fugitive Artist. The Early Works of Richard Prince, 1974-1977' (2007), a publication for which Prince refused permission to reproduce any images, thus leaving the illustrations blank. Vilanova re-inscribed this invisible history by inserting surrogate images taken from contemporary astronomy magazines.
| CAST |
'Vic Cambrils Barcelona / Verges Cervera Barcelona / Viladamat Castelldefels Barcelona / Vilafranca Cornella Barcelona / Valls Collserola Barcelona... Proyecto para una biblioteca', Midway Contemporary Art, Minneapolis, desde Octubre 2010
Presentación de Latitudes: Jueves 21 Octubre, 19h
En respuesta a los fondos adquiridos por la Biblioteca del Midway Contemporary Art entorno a publicaciones de museos y reconocidas editoriales de Barcelona, Latitudes ha reunido una contra-propuesta de unos 50 proyectos micro-editoriales o ‘auto-publicaciones’ producidos por diseñador/es, comisarios/as y artista/s en Cataluña a partir del 2005.
Las publicaciones se exhibirán en Midway durante octubre-noviembre antes de ser ‘absorbidas’ por los fondos de la biblioteca. Junto a esta nueva adquisición, Latitudes invitó a los artistas barceloneses Mariona Moncunill, Gabriel Pericàs, Mireia C. Saladrigues y Oriol Vilanova a producir puntos de libro que serán insertados 'silenciosamente' en algunos libros de la biblioteca y que en el futuro serán encontrados por desprevenidos lectores. + info...
Mariona Moncunill localizó un libro de su colección personal que compartiese con la biblioteca del Midway y encontró que sólo compartían uno: 'Inside the White Cube' de Brian O'Doherty. Durante un año, el primer jueves de cada mes, Moncunill leerá el primer párrafo de la página 61, con la esperanza de establecer una ventana temporal que la conecte a un lector desconocido.
La intervención de Gabriel Pericàs consiste en la inserción de cuatro folios impresos que parecen complementar el contenido de las páginas entre las que se encuentran. Estas 'wiki-ficciones' han sido cuidadosamente elaboradas y parecen ser impresas directamente de la web, sin embargo, sus cuestionables direcciones URL hacen dudar al lector sobre su veracidad.
Mireia C. Saladrigues enfatizó la correspondencia formal entre una página del libro de 'Introducción a la lógica científica: Dora García y Matthew Buckingham' y otra en 'Pura asociación, Ryan Gander' intercambiando elementos entre ambos. Motivada por una 'feliz coincidencia' y por la naturaleza asociativa de la obra de Gander, Saladrigues se ha centrado en el intercambio de elementos distantes que a primera vista parecen no tener nada en común.
La intervención de Oriol Vilanova se centra en el catálogo de 'Fugitive Artist. The Early Works of Richard Prince, 1974-1977' (2007), publicación para la que Prince negó el permiso de reproducción de cualquier imagen de su obra, dejando así las ilustraciones en blanco. Vilanova reinscribe esta invisible historia mediante la inserción de imágenes de revistas de astronomía contemporánea.
Midway Contemporary Art
527 Second Ave Southeast
55414 Minneapolis, MN
United States
MAP
'THE LAST GAZETTE' AVAILABLE NOW! #2 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum
Wed, Oct 13 2010
'The Last Gazette' – Issue #2(Read it on ISSUU)
Table of contents:
Cover: ‘Sorry for the Metaphor’. Special cover by Amalia Pica (and page 3)
Editorial: ‘34 People Like This’ by Latitudes
Focus: ‘A system is not imagined, it is real’, Julienne Lorz on TLN artist Hans Haacke’s News (1969/2008)
Dirt Sheet: Janine Armin on the newspaper-as-catalogue
Picture Agent: Ilana Halperin
The Next Newspaper: Clay Shirky
Photo essay: ‘Picture Mining’ by Ines Schaber
Obituary: ‘Sorry we’re dead’, Andrew Losowsky on TLN artist Adam McEwen’s Untitled (Caster) (2010)
Fit to Print: Adam Chadwick on hyperlocal citizen journalism
100 Years Ago…: Daily Public Ledger
In Brief: ‘Sac Bee Cuts’
Media Habits: Luis Camnitzer
Infographic: ‘U.S. Gazettes: Average Circulation’ by Irina Chernyakova
Cartoon: ‘The Woods: Money’ by Francesc Ruiz
Advertising: Ester Partegàs
Video of issue 2 - more videos here.
This week's headlinesEXCLUSIVE CONTENT!
Hans Haacke, News (1969/2008),RSS newsfeed, paper and printer, dimensions variable.
Image courtesy Gothamist, Photo by Katie Sokolor.
Detail of 'News'. Photo: Latitudes
Detail of 'News'. Photo: Latitudes'A system is not imagined, it is real'
Julienne Lorz – Curator, Haus der Kunst, Munich – on Hans Haacke's News (1969/2008), one of the featured artworks presented in The Last Newspaper.
“Concorde breaks sound barrier” – “GDR celebrates 20th anniversary” – “Anti-Apartheid Protesters disrupt Frankfurt book fair”. Such headlines and their corresponding stories could be read by visitors to the exhibition Prospect '69 at the Düsseldorf Kunsthalle in 1969. There, Hans Haacke had installed his work News (1969) consisting of a telex machine that printed out all current news items transmitted by the German news agency DPA. Initially Haacke collated these printouts, as well as those from his solo show at the Howard Wise Gallery in New York, where the work was shown a couple of months later, preserving and dating them in see-through plastic boxes. For the legendary exhibition Software. Information Technology: Its New Meaning (1970) at the Jewish Museum in New York, however, he dismissed this idea so as to avoid turning these paper messages into valued objects. Instead, the telex machines printed out reams of paper which curled in ever growing heaps onto the floor and after the show the once up-to-date information was discarded. The headlines during the Software... show recorded events which took place between 16th September and 8th November 1970, such as “Civil war breaks out in Jordan” – “Rock legend Hendrix dies after party” – “Soviet probe collects moon rock”, which had become yesterday’s disposable news.
Haacke has continued to update the technology used in News. Today it is a dot matrix printer linked up to a RSS newsfeed. But in an age where computers are ubiquitous and in spite of the – so far – non-existent paperless office, the impression of news being received and printed out is somewhat outmoded. Yet, the changing formal and technological aspects of News are not the main aspects of the work. Rather, it is the concept of dissolving the boundaries between two worlds: the exhibition within the context of a gallery or museum and everyday life existing outside of this sphere. News items in all their brutal reality and without the extra filter of a newspaper, TV or radio editor, perpetrate this hermetic space, where the noise of traffic and city life is rarely heard and where windowless white cubes supposedly create complete neutrality.
For Haacke the exterior elements influencing an artwork or a space are crucial, as he stated in Lucy Lippard's publication Six Years: The dematerialization of the Art Object from 1966 to 1972: “A ‘sculpture’ that physically reacts to its environment is no longer to be regarded as an object. The range of outside factors affecting it, as well as its own radius of action, reaches beyond the space it materially occupies. It thus merges with the environment in a relationship that is better understood as a ‘system’ of interdependent processes. These processes evolve without the viewer’s empathy. He becomes a witness. A system is not imagined, it is real.”
Bringing the two domains together through News was particularly apposite when Haacke first began exhibiting the work: the Vietnam War was still raging, the aftermath of the tumultuous events in 1968 were still being felt and the Red Army Faction in Germany was just starting its reign of terror. But News is, of course, always current whenever it is being exhibited, while simultaneously affecting the past, as Haacke put it in a conversation with Kathleen MacQueen: “New information constantly overlays the old and influences how we understand what we heard and read the previous day”.
Newsletter #26 - October 2010
Fri, Oct 8 2010
ONGOING...
Partner organisation in the exhibition 'The Last Newspaper', New Museum, New York, (6 October 2010–9 January 2011)
ALSO THIS MONTH...
'Vic Cambrils Barcelona...A Library Project' for Midway Contemporary Art, Minneapolis (Talk: 21 October, 7pm)
FORTHCOMING IN 2011
Curators of the exhibition 'Christina Hemauer & Roman Keller: United Alternative Energies', Aarhus Art Building, Arhus, Denmark, 22 January–3 April 2011
LATITUDES ON THE PRESS
Profile article by Carlo McCormick, Paper magazine, October 2010
Facebook page here
Twitter here
Flickr photosets here
Previous newsletter here
Youtube Latitudes Channel
'THE LAST POST' AVAILABLE NOW! First issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum
Tue, Oct 5 2010
'The Last Post' – Issue 1 (Read it on ISSUU)
Table of contents:
Cover: ‘Ink vs Link’. Press Room of The Richmond Planet, c. 1899
Editorial: ‘Welcome to The Last Post, The Last Gazette, The Last Register...’ by Latitudes
Picture Agent (Our singular picture agency): Kirstine Roepstorff
Media Habits: Dara Birnbaum
Exclusive Interview: ‘Double Trouble’, Lorena Muñoz-Alonso interviews TLN artist Pierre Bismuth
Feature: ‘Lights, Camera...Banality’, Kolja Reichert on Marie Voignier’s Hearing the Shape of a Drum (2010)
‘Working with Utopians’ by Richard Flood and Benjamin Godsill
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): ProPublica
Fit to Print: ‘The (L.A.) Times it is A-Changin’ by Adam Chadwick
100 Years Ago…: The Salt Lake Herald-Republican
Cartoon: ‘The Woods: Teen Balls’ by Francesc Ruiz
Advertising: Ester Partegàs with Rob McKenzie
EXCLUSIVE CONTENT!
Below is the first interview of the series 'Media Habits' in which readers get to know how, where and from what artists, curators, journalists, etc. get their information and news. For the first one, we invited the New York artist Dara Birnbaum whose work has addressed the medium of television since the late 1970s.
Self-portrait of Dara Birnbaum. Courtesy the artist.I have basically stopped reading newspapers, except when travelling. Then I read the International Herald Tribune. I will look through the Sunday New York Times, as it is available once a neighbor has discarded it. Basically, I scan The New York Times news and read the ‘Arts & Leisure’ section, etc. I will pick up free papers and look through them, such as The Village Voice.
Magazines
I use magazines mainly for listings, such as New York magazine and Time Out New York. For New York magazine I also do the crossword puzzle. News is gleaned through TV and the radio. There are only very few magazines I subscribe to, such as Astronomy, that of the Natural History Museum and the Audubon Society. I used to read National Geographic, but recently stopped it as I found I wasn’t reading it thoroughly enough. All are read at home, mostly late at night when it is quiet.
Online
I do spend considerable time on-line daily, mostly for research and communication. I use YouTube mostly for great archival footage – and that is my entertainment as well – concerts, interviews, etc. I use Facebook marginally. Mostly I answer when someone wants to be a friend or posts a message to me. Basically, I am consumed by keeping up with email, mostly for work.
Television
As for television, I can barely watch it. However, I am addicted to Criminal Minds, which I find is well written and well-acted. It reminds me of a favorite film: The Silence of the Lambs. I haven’t exactly analyzed why. I can watch some public television, such as Mystery and sometimes watch films on TV, or the Late Late Show on CBS. Most television simply annoys me.
Radio
I listen to the radio constantly, mostly Wyoming National Public Radio on my computer. Then there are just two stations I listen to on my regular radio by my bed – the two public broadcast stations that we have in New York City.
Books
I read constantly, but I skip around a lot – not very concentrated. However, I just finished Little Bee by Chris Cleave and Don DeLillo’s Falling Man and his Point Omega.
Installation process of 'The Last Newspaper', New Museum
Mon, Oct 4 2010'The Last Newspaper', New Museum, 3rd, 4th, and 5th floors, New York
6 October 2010–9 January 2011
Tuesday 5 October 2010
VIP Preview: 7–8pm
Opening Reception: 8–10pm
Artists in the exhibition: Alighiero e Boetti; Judith Bernstein; Pierre Bismuth; Andrea Bowers; Francois Bucher; Sarah Charlesworth; Luciano Fabro; Robert Gober; Hans Haacke; Karl Haendel; Rachel Harrison; Thomas Hirschhorn; Emily Jacir; Larry Johnson; Mike Kelley; Nate Lowman; Sarah Lucas; Adam McEwen; Aleksandra Mir; Adrian Piper; William Pope. L; Allen Ruppersberg; Dexter Sinister; Dash Snow; Rikrit Tiravanija; Wolfgang Tillmans; and Kelley Walker.
Partner organizations: Center for Urban Pedagogy; StoryCorps; Latitudes; The Slought Foundation; INABA, Columbia University’s C-Lab; Joseph Grima and Kazys Varnelis/Netlab; and Angel Nevarez and Valerie Tevere.
All photos: Latitudes | www.lttds.org
Shows at Artists Space, Ludlow 38 and Participant Inc., New York
Sun, Sep 26 2010
Danh Vo'Autoerotic Asphyxiation'
15 September – 19 November 2010
Artists Space
38 Greene St, 3rd Floor
New York, NY 10013
http://www.artistsspace.org
"Elegiac in their preoccupying calm, the images and objects inhabiting Autoerotic Asphyxiation coyly recall the past, fashioning a peculiar nostalgia. (...) The most immediately visible works in the room – the sheer curtains concealing both windows and walls – reveal, upon closer inspection, flowers embroidered in some of the fabric. These, in turn, are all species discovered throughout China and Tibet by French missionary and botanist Jean-Andre Soulie, who exported them to Europe. (...) Concealed behind the fabrics and tucked between windows are several sets of black and white photographs of Vietnamese men and boys. The intimate pictures exude an air of homoeroticism and evidence a keen fascination with masculine relationships in Vietnam. Images of men working or eating are accompanied by photos of men holding hands and embracing. Moving through the gallery becomes an active search as one parts the curtains along each wall to locate the photographs". More info... via http://idiommag.com
Tobias Putrih'After Frei Otto'
1 September – 10 October 2010
Ludlow 38
New York, NY 10002
http://www.ludlow38.org
"Tobias Putrih: After Frei Otto' is an exhibition of new work inspired by the work of German architect Frei Otto (*1925 in Dessau, Germany). Putrih’s newly commissioned installation is accompanied by a presentation of a complete set of 40 publications (1969-1995) produced by the Institute for Lightweight Structures at the University of Stuttgart (founded by Otto in 1964) and video footage documenting the epochal work of the architect.
In the front gallery, the Slovenian artist has developed a new installation influenced by the early soap bubble experiments of Otto. Between a group of fixed points, soap film spreads automatically into the smallest achievable surface area. These experiments have helped Otto to design buildings with a fraction of materials used in other construction projects and made him one of the most important representatives of experimental architecture. Putrih adopts the experiments with an interest in their surprising effect and experimental nature, relating them to a history of architecture pedagogy". More info...
'Collective Show New York 2010'15–26 September 2010
Participant Inc.
253 East Houston Street, ground floor
New York NY 10002
http://www.participantinc.org
"'Collective Show New York 2010', an artist-organized exhibition of contemporary collaborative art groups recently established in New York. This collaboratively curated 'group show of group shows' features DIY artist-run spaces and projects, emerging curatorial initiatives and local independent publications."
Participating groups include: 179 canal, 25CPW, Artist Accomplices, AVA, BHQFU, Boffo, Camel Collective, The Chrysler Series, Daily Operation, Eyelevel BQE, FARIMANI, Forever & Today, Forte, HKJB, The Holster, the jogging, Kunstverein NY, The Metric System, Parlour, Primetime, The Public School, Silvershed, Submerged Art, Vector Productions, Why and Wherefore, YES, and Collective Show 2011 hosts: ACP (Los Angeles), Human Resources (Los Angeles), Night Gallery (Los Angeles) and Temporary Contemporary (London).
All photos: Latitudes | www.lttds.org
Studio visit: Ester Partegàs, Brooklyn, New York
Sat, Sep 25 2010
Today we visited Ester Partegàs' studio in Brooklyn. Partegàs will be the 'advertising department' for the 10 tabloid newspaper series edited by Latitudes as part of the New Museum forthcoming exhibition 'The Last Newspaper'.Partegàs has recently exhibited at Christopher Grimes in Los Angeles and on the 21 October will open a show at Foxy Production, New York. Besides this two US galleries, Partegàs also works with NoguerasBlanchard, Barcelona and Helga de Alvear, Madrid.
Images: Courtesy the artist. Photos: Latitudes | www.lttds.org
'Antes que todo', Centro de Arte Dos de Mayo (CA2M), Móstoles, hasta 9 Enero 2011
Tue, Sep 21 2010'Antes que todo'
Centro de Arte Dos de Mayo, Móstoles, Madrid
18 Septiembre 2010 – 9 Enero 2011
Artistas: Ignasi Aballí; Lorea Alfaro; Txomin Badiola; Antonio Ballester Moreno; Erick Beltrán; Bestué / Vives; Rafel G. Bianchi; Carles Congost; June Crespo; Discoteca Flaming Star; Patricia Esquivias; Jon Mikel Euba; Esther Ferrer; Nuria Fuster; Dora García; Fernando García; Rubén Grilo; Lilli Hartmann; Daniel Jacoby; Jeleton; Fermín Jiménez Landa; Adrià Julià; Dai K.S.; Tamara Kuselman; Daniel Llaría; Erlea Maneros Zabala; Pablo Marte; Fran Meana; Asier Mendizabal; Jordi Mitjà; Momu & No Es; Julia Montilla; Itziar Okariz; Antonio Ortega; Kiko Pérez; Juan Pérez Agirregoikoa; Gabriel Pericàs; Paloma Polo; Sergio Prego; Wilfredo Prieto; Tere Recarens; Red Caballo; Alex Reynolds; Xavier Ribas; Carlos Rodríguez-Méndez; Francesc Ruiz; Xabier Salaberria; Jorge Satorre; Javi Soto; Julia Spínola; Sra. Polaroiska; Alain Urrutia; Isidoro Valcárcel Medina; Azucena Vieites; Oriol Vilanova; WeareQQ
Comisariado: Aimar Arriola & Manuela Moscoso
'Antes que todo' es una exposición que se propone penetrar en el presente del arte en el Estado Español. La muestra, que ocupa la totalidad de los espacios del CA2M y en la que participan 56 artistas, no pretende arrojar una mirada totalizadora sobre el “aquí y ahora”, sino que da una mayor visibilidad, y por primera vez de manera concentrada, a formas de trabajo que se han desarrollado en los últimos 20 años en focos específicos del contexto. En la base del proyecto subyace el interés por problematizar la noción de actualidad, con el objetivo de generar una mayor conciencia respecto al lugar que ocupamos en relación a un determinado presente.
El marco conceptual del proyecto se ha articulado en torno a la idea de “expectativa” entendida como una bisagra mediadora entre pasado, presente y futuro. Una de las subtramas del proyecto se centra en explorar hilos de continuidad entre prácticas de diferentes generaciones, con la voluntad de crear puentes y de evidenciar sus resonancias con el presente. Más info…
Las piezas realizadas por Jordi Mitjà ('Floating Lines' (Second Cabinet)) e Ignasi Aballí ('Tomar Medidas') que se presentarán en la exposición, derivan de proyectos comisariados por Latitudes en el 2009 para la Galleria Umberto di Marino, Nápoles, y en Suitcase Art Project, Pekín, respectivamente.
Catálogo 'Antes que todo' (próximamente disponible)
Diseño: ferranElOtro Studio
Ensayos: Peio Aguirre, Sofie van Loo, Aimar Arriola y Manuela Moscoso.
Textos artistas: Max Andrews, David Armengol, Haizea Barcenilla, Ellen Blumenstein, Juan Canela, Mariana Cánepa Luna, Amanda Cuesta, Maite Garbayo, Miren Jaio, Willy Kautz, Martí Manen, Mariano Mayer, Tania Pardo, Alberto Sánchez Balmisa, Andrea Valdés Vigil, y los comisarios de la exposición.
Centro de Arte Dos de Mayo
Avda. Constitución 23
28931 Móstoles, Madrid
http://ca2m.org
Latitudes/New Museum recruiting New York interns for the Museum’s fall exhibition 'The Last Newspaper'
Tue, Sep 7 2010
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Position: Volunteer internships (editorial/curatorial/journalism/design)
Requirement: Minimum 2 full days per week, 7 hours per day. Based in New York.
Desired dates: 27 September–14 December 2010
Deadline: Applications will be accepted on a rolling basis until all positions are filled
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
As a partner organization in the New Museum’s fall exhibition 'The Last Newspaper' (6 October 2010–9 January 2011), the Barcelona-based curatorial duo Latitudes (www.LTTDS.org) is editing a weekly in-house newspaper.
Latitudes is seeking multi-talented and motivated people to form the newspaper team to join them in working as art news and feature writers, interviewers, content producers, photographers and/or graphic designers.
During the exhibition a mini-newsroom will be set up and operated on site and, in place of a traditional catalogue, this free 12-page newspaper will be compiled and made available freely from the museum each week for 10 weeks. This opportunity allows interns to get real-world experience in an editorial and curatorial environment and to be an integral part of a unique project. More information here: http://www.lttds.org/projects/current/lastnewspaper/lastnewspaper.html
Eligibility
All interested individuals eighteen years of age and older are eligible to apply for an internship. Candidates with a strong knowledge of 20th-century art history and contemporary art (or have a background in galleries, journalism, art magazines, curating, critical writing and studio art or art education) are welcome to apply. International candidates may apply, but please note that we cannot provide visas, travel or accommodation. When considering whether or not to apply, please keep in mind these are unpaid internships.
Responsibilities
Each member of the team will be required to assist and collaborate in all aspects of editorial planning with accuracy and good-humor. Work will include producing both short and long-form writing to tight deadlines under the direction of the editor-curators as well as copy-editing, administrative support and research.
Job requirements
- A track-record in writing and editorial tasks, compiling textual and pictorial material with an eye for detail
- Ability to work to agreed deadlines and prioritize
- Proven ability to organize and manage work flow
- Interpersonal skills and ability to work effectively as part of a team as well as independently
Interns must be able to work a minimum of 2 full days per week, 7 hours per day, ideally for the full run of the project (27 September–14 December 2010). The exact schedule will be determined in conjunction with the New Museum.
Application Procedure
Please apply by e-mail (see below) with:
- a letter of interest of a maximum of 500 words,
- a resume outlining your educational background and recent work experience,
- a letter of recommendation from a previous employer or professor/tutor,
- a maximum of 3 samples of relevant writing, journalism, or design work while indicating your main areas of interest and skills within respect to the roles and opportunities offered by this project.
Please note that only accepted candidates will be notified.
For general terms about internships at the New Museum, please see conditions here.