This is the fourth year (see 2009-10, 2010-11 and 2011-12 posts) we say goodbye to the 2011–12 season with an 'out of office' post with some unseen and 'behind the scenes' moments lived in the past 11 months. 

Happy holidays/felices vacaciones readers! More Latitudes' via Facebook (http://www.facebook.com/LTTDS) and Twitter (@LTTDS). 

22 September 2011: Back to the future. transferring the mp3 file of the new anthem commissioned by Fermín Jiménez Landa onto a cassette. Images of their show here.

21 September 2011: Lee Welch and Fermín Jiménez Landa talk about their show to MUSAC's staff.

21 September 2011: Newly framed works by Lee Welch (top left) and photos by Fermín Jiménez Landa (right).

22 September 2011: Watching concrete dry (Lee Welch and Fermín Jiménez Landa's exhibition plinths/border marks).

23 September 2011: Final rehearsal of La Cena band in the Laboratorio 987 space. Opening performance of 'Himno Nacional' here.

 Permission to parade through the streets and squares of León's centre on the 24th September.

  24 September 2011: Fermín Jiménez Landa (camera) Lee Welch (video recording) the "Himno Nacional" 'pasacalles' parade around the streets of León.

 12 October 2011: Finding 'The Last Newspaper' displayed at Walter König's bookstore while browsing for nice books during Frieze Art Fair, London.

13 November 2011: Jorge Satorre fixing one of the posters of the show, before we take off to discuss his and Erick Beltráns' project 'Modelling Standard', an interview that was published in the February issue of Atlántica magazine.

January 2012: Testing, testing... 'The Dutch Assembly' programme is available for smartphones.

 18 January: "Café con...Latitudes". Informal talk with Hangar artists-in-residence. Photo: Hangar. Latitudes have been part of Hangar's Programming Committee between 2010–13.

31 January 2012: Premis GAC 2012 award ceremony at MACBA's atrium. Mariana Cánepa of Latitudes' was part of this year's jury.

2 February 2012: "...y desde el 'backstage'" (leer aquí) de Vanessa Graell en el suplemento 'Tendències', El Mundo.

6 February 2012: Demonstration to pressure politicians to change their minds about stopping the plan for the Canòdrom to be the future Centre of Contemporary Art in Barcelona. The windows were whitewashed as it is done with unused facilities.

Artists whitewashing the Canòdrom windows. 

 12 February 2012: "Mataró Chauffeur Service" mangled at Matadero, Madrid.

13 February 2012, ARCOmadrid: Installed vinyls and posters for each of the The Dutch Assembly hourly talks, readings, artists' presentations, performances, book launches, in conversations and screenings throughout the five days of the fair. See the list here (and some audio recordings). Download full programme details here.

'The Dutch Assembly' was well connected.

13 February 2012: The Dutch Assembly 'Superstructure' space by Jasper Niens and Thijs Ewalts. In the picture, choir performance 'Care' by Rory Pilgrim, presented by De Hallen, Haarlem.

16 February 2012: Latitudes introducing Ann Demeester, Director De Appel, and Nathalie Hartjes, coordinator of the Gallerist Programme at De Appel, presented a round table discussion with (left to right): Jeanine Hofland (Jeanine Hofland Contemporary Art, Amsterdam), Rebeca Blanchard (NoguerasBlanchard, Barcelona) and Helga de Alvear (Helga de Alvear, Madrid) around the profession of the gallerist. Photo: Haco de Ridder.

Álvaro Calleja profiles The Dutch Assembly: "Un Puente entre dos naciones'/'a bridge between two nations" en el  ABCDArco, 16 February 2012.

February: At last...Lara Almarcegui's monograph is here! Edited by Latitudes. 

 16 March: Good morning Sharjah! Part one of the March Meeting report here.

Sharjah lunch with curator and 'El Cultural' critic, Javier Hontoria.

17 March: Latitudes' presentation on residencies (for artists and curators) during Sharjah's fifth March Meeting, which focused on 'Working with Artists and Audiences on Commissions and Residencies'. Latitudes' panel titled "Minding the Gap: the Critical Role of Smaller Organisations" had presentations by Hu Fang (Vitamin Creative Space, China) and Daniella Rose King (MASS Alexandria, Egypt), and was chaired by Samar Martha (ArtSchool Palestine, Palestine). More photos here. Photo: Posted during the conference on the Twitter account of @lamyaalsuwaidi

Glitzy souvenirs from Dubai, anyone? See more images of Dubai's trip.

 23 March 2012: Last day in the Emirates. Visiting Sheikh Zayed Grand Mosque in Abu Dhabi, one of the world's largest mosques. Read more on our trip to the Emirates on the blog (part 1, part 2 and part 3). 

 29 March (29M): General Strike in Spain. Many more demonstrations to come...

22 April: One of this year's exhibitions highlights: Xavier Le Roy's "Retrospective" at Fundació Antoni Tàpies, Barcelona. On the finissage, children almost stole the show joining performers.


Here, father (performer) and son, perform together at the finissage.

10 April 2012: The happy moment of receiving copies of Amikejo, a book we have been working on most of last winter. See images of the book here.

31 May: Manifesta 9 curator Cuauhtémoc Medina with artist Jeremy Deller. See Latitudes' photo report of Manifesta 9.

31 May: With Lara Almarcegui while she explains her work included in Manifesta 9, Genk. (see more pictures of Manifesta 9, here).

2 June: Visit the drielandenpunt for a remote book launch. This is the apex of the triangle-shaped borders of what was Amikejo.

2 June: Friends that come to a booklaunch in a remote place, the drielandenpunt ("Three-Country Point") in Dutch, or Dreiländereck ("Three-Country Corner") in German, or Trois Frontières ("Three Borders") in French." More images here. Photo: Klaas van Gorkum

 6 June 2012: Welcome to Germany! Brussels–Kassel train journey. A little German snack at Köln's Hauptbahnhof.

 6 June: A German, a Dane and an English man meet and greet in a square. (gallerist Johann König, artist Tue Greenfort and Max Andrews' of Latitudes in Friedrichtplatz, Kassel). See Latitudes' documenta (13) photo report here.

7 June: Launch of Maria Loboda's book at Karlsaue Park with music, smoke, and a pyramid of ice with 750 litres of champagne. See Latitudes' documenta (13) photo report here.

8 June 2012: Chance meeting with Mr Weiner and Mr Weiner's tote bag in Kassel, good memories of our 2008 'The Crest of a Wave'.

15 June: Visiting lecturers, Máster en Arte, Museología y Crítica Contemporáneas, Universidad de Santiago de Compostela. The session was preceded by an evening conference at CGAC on "The Curatorial Contract: Analogies and Case Studies". Photo: Pedro de Llano.

 16 June: Almejas, berberechos and cold beer in Santiago de Compostela. Galicia calidade! 

  A tangle of 2012 press and work passes.

All photos: Latitudes | www.lttds.org (except when noted otherwise in the caption of the photo). 


This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

The works are produced for and presented in different locations around the Urdaibai Biosphere Reserve (in the Basque Country), including urban, industrial and natural spaces.

Below images of the works as we visited them, starting with Gunilla Klingberg's "A Sign in Space" at Playa de Laga, Ibarrangelua, a tide-depending 'drawing' performance that takes place on the beach on the following days: 19, 20, 30, 31st of July; 1, 2, 14, 15, 16, 30 and 31st of August and 14, 15th of September.

 
Haegue Yang, "Tectonic Texture", Cantera de Andrabide, Gautegiz-Arteaga.

 Following an excerpt from the text "Stack of evidence: Haegue Yang" included in the publication "Sentido y Sostenibilidad – Reading" written by Max Andrews' of Latitudes (you can download the full text from Latitudes' writing archive).

"Yang’s project, for Urdaibai – entitled 'Tectonic Texture' – has its beginnings and the bulk of its physical and metaphorical investment in what is perhaps the most traditional of raw materials for artistic decoration and representation: stone. In particular she became interested in the characteristic stones of the Urdaibai region – including grey limestone and Rojo Ereño, which has been quarried in the region since at least Roman times. The latter, also known as Rojo Bilbao, is technically a recrystallised limestone which is a deep meaty red colour with whorls of grey and white which are the fossilised remains of rudists, bivalves which were the major reef builders of the tropical seas of the Cretaceous. Yang proposed a stack in which 80 cm square slabs of Rojo Ereño are alternated with slabs of grey limestone. Additionally, a mason from Urdaibai was commissioned to carve the top surface – a square sandstone plate, also from the region – with a combination of his own raised geometric designs and a series of engraved handprints like impressions left in wet concrete. The five handprints are intended to encourage people to touch the form and initiate a direct contact with the materiality of the stone. 'Tectonic Texture' is installed one of the few Ereño marble quarries in the region which has not been completely abandoned and is surrounded by the stagger-cut cliff faces where millennia of excavations have cut down below the forested surface. The sculptural material of which it is comprised originated from the same quarry. The depth of the quarry witnesses the vast displacement of rock that has taken place, and the steady transposition of a section of landscape which itself originated as ocean life approximately 100 million years ago into symbolic and cultural forms – buildings facades, altars and monuments distributed throughout the Basque country and beyond.

Yang’s work is a kind of non-sculpture – perhaps closer to a memorial or a secular shrine – which connects to a highly-specific local labour tradition, through the apparent paradox of a representation of stone that is itself stone. Its form might also suggest that it is a kind of column or pedestal for an invisible form on top of it – an expectant platform articulated through the reorganisation of the excess symbolic value found in the anthropogenic landscape where it stands. The location of the quarry is somewhat hidden within the landscape of the Urdaibai biosphere reserve, and approaching the work in its context evokes a quasi-mystical feeling despite that fact the area bears the scars of modern industry. With 'Tectonic Texture', Yang was particularly interested in this strange collision of industrial exploitation and managed nature inherent in the site, as well as the Urdaibai region’s pride in its ecological fecundity as a new kind of resource with political dimensions."  

Oscar Tuazon, "Birds" is on the way up to San Pedro Atxarre from the district of Garteiz and Akorda, Ibarrangelua. It consists of a bench of Marquina stone with a radio system broadcasting live (Radio3) within a remote and highly environmentally-protected area.

Liam Gillick, "Faceted Revision Structure (Es una clase muy pobre de memoria que sólo funciona hacia atrás)", Fábrica de Astra, Gernika-Lumo. The remodelling project of this future production centre is still undergoing, and will be presented with a finissage at the end of the project.

Pieter Vermeersch, "Untitled" in the Polígono Industrial, Gernika-Lumo. As the artist has written, these two paitings "represent a mental landscape as a subjective mirror of my experience in this region."

Renata Lucas, "El Visitante", Calle de Santa Clara, Gernika-Lumo. The project involved the planting of a Sibipiruna (Caesalpinia Peltophoroides), a tree native from the artist's birthplace, Brazil, in close proximity to Gernika's oak tree.
 

Following an excerpt from the text included in the publication "Sentido y Sostenibilidad – Reading" written by Mariana Cánepa Luna of Latitudes (you can download the full text from Latitudes' writing archive).

Carlos Irijalba, "High Tides", Refuge in Paresi, Busturia. Irijalba's installation in this former Republican school is an investigation of a physical terrain: the result of a geotechnical drilling that Irijalba undertook on the parking lot of the former weapon factory of Astra in Gernika. 

Maider López, "In Situ", Nine different locations around Urdaibai. Below the coordinates in front of Mundaka's Town Hall, designating where to find the yellow tiles the artist has placed which indicate daily movements, crossings, activities that happen in the area.

We are missing images (our camera collapsed! but managed to rescue a photo we took with a phone) of Rafael Lozano-Hemmer's "Regar corazonadas", placed in the Centro de Biodiversidad de Euskadi-Torre Madariaga (Busturia). The piece consisted in an interactive hose located in the garden of Torre Madariaga. The hose has a sensor attached to the sprinkler which detects the pulse and makes the water flow following the heartbeat of the person handling it. The Biodiversity Center is also the info point from where to take a map and guide (includes GPS locations) to find the projects, and also screens a 'making of' video of the project.




This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Newsletter #45

http://mad.ly/c60ad2 (in English) 

http://mad.ly/32fed2 (en Español)

Latitudes' current and forthcoming projects:

#OpenCurating, BCN Producció 2012 Research Grant, throughout 2012 + info...

Facilitators of the second Nature Addicts Fund Travelling Academy, 11–15 September, Kassel. Organised within the Maybe Education and Public Programs of dOCUMENTA (13). + info...

'Projects 2005–2012 / Incidents of Travel', in La Sucursal, Casa del Lago, Mexico City, Mexico, 27 September–5 November 2012. + info...

2005–12 Newsletters here.

Pilvi Takala's posters and a sound work on the notion of ‘lost pigeons’.


 Lara Almarcegui's 700m3 "Concrete Mountain" in the Tondelier cluster.
The artist speaks about her work in this video.


 Pascale Marthine-Tayou, "Le défi" (2012).



 Teresa Margolles' Mesa y dos bancos (Table and Two Benches), 2012 in the Tondelier cluster.

 "For TRACK [Margolles] had a public picnic bench cast in cement. She mixes this neutral substance with the water extracted from cloths that had been used to clean up the blood of victims of the Mexican drug war from the streets."
 Mekhitar Garabedian's work against the Butcher’s Hall façade.

[from the website] "‘Search and Destroy’ is not only the title of a hit by the 70s nihilistic American punk band The Stooges, but also a military strategy first employed in the Vietnam War. To Garabedian, this phrase refers to the way the history of a place is handled and the way a fracture in the past continues to torment the present."

S.M.A.K. museum façade, turned into TRACK.

The ‘Museum Graveyard’ project at Citadel Park by Leo Copers.

Due to safety reasons Danh Vo's work ‘WE THE PEOPLE’ was moved to the nearby Museum of Fine Arts, opposite S.M.A.K.

Sven Augustijnen, 'Spectres' in Citadel Park.

 Entrance to Galerie Tatjana Pieters at Nieuwevaart 124, Ghent

Entrance to the show.

(...) "David Jablonowski's sculptures [photo above and below] awkwardly materialize and juxtapose processes of scanning with generic computer visualization, digitized archival imagery as well as what look like casts spat out by 3-D printers."



(...) "Rey Akdogan's gathering of packed and piled light filters remind of the mass-produced products that are supposedly applicable anywhere and that continue to shape our mode of perception."

"Batia Suter's enlarged and superposed scans of found printed matter turn the offset image into a sculptural object, and equally obstruct indexical readings of the photographic material."

[Floor] "Asha Schechter's sculptures (belated puns to Duchamp) take stock imagery or common designs into a formal non-communicative context that prioritizes relations between infinite background and foreground." (Background, hanging) Lorea Alfaro and (right, wall) Kiko Pérez.


(left and opposite wall) June Crespo and (right, wall) Lisa Oppenheim.

"Equally focused on intermediary material components and backgrounds in the process of photography, Lisa Oppenheim's unique photograms resemble digitally designed patterns while being the repositories of a darkroom interpretation of Victorian flower arrangements."

"The other strand insists on specificity of materials and imagery. June Crespo's precise scans provide the source material for layered sculptures that force the object-image into three-dimensionality and volume."

June Crespo, "Plegada", 2010.
Lambda print on PVC, metal rivets, plastic and spray, textile. 100x70cm.

Asha Schechter (left, floor) and (right, hanging) Lorea Alfaro.

"Kiko Pérez's murals, specifically made for this occasion and interpunctuating the entire gallery space, as well as his stacked works on paper ambiguously refer to a language of branding and re-introduce the notion of gesture within this landscape."

"Lorea Alfaro's hanging paintings stem from non-descript backdrops used in portrait photography in China."

"Taking a distinctly wide-angle, associative approach, Rubén Grilo's voracious online search for 'Hobbes' gave for a randomized PowerPoint presentation of the comic strip hero, seen from two vantage points, with excerpts from Leviathan."

"Daniel Steegmann-Mangrané's slide projection installation, born from a reprise of a Jan Dibbets photo, thrives because of the confusion between surface, depth and viewpoint inherent within the photographic image."

"Philippe van Snick's Kleurmachine, though made in the 1970s, foreshadows a similar language of generic abstraction. (...) Van Snick's photography simultaneously fuses object and processed image, similarly collapsing two- and three-dimensionality."  
Catedral of Sint–Jan in the center of Ghent.

'Sad Eis' (Sad Ice), Sarah Ortmeyer's first solo show in Meessen de Clercq (1 June–14 July 2012) is  "an exhibition on ritualized happiness" as described in the exhibition guide. 

During the opening night, the artist treated guests to liquorice, fennel and wasabi ice cream as well as cocktails made of Riesling wine with lavender ice cream. 

View of the installation of MILLI VANILLI

Formally virginally white towels covered in sweet sauce.

Organic ice cream on towel: Vanilla, Strawberry, Rasperry, Currant, Pistacchio and Mango.

Meessen de Clercq

Abdijstraat 2A / Rue de l'Abbaye

B-1000 Brussels

BELGIUM

Lucy Skaer's solo show 'Force Justify (Part 2)' (24 May–16 June 2012) at Tulips & Roses:

  

[From the press sheet]
The ship of fools is an archetype based on the Narrenschiff by Sebastian Brandt, a medieval book in which a ship full of fools set sai to a fools utopia Narragonia.

Starting from a woodcut illustration from the book, I have made a work that inhabits and performs the allegory. (...) First the image was carved in to the floor of the K21 museum in Düsseldorf, and a large print was made from it. The floor was then lifted and moved, rearranged and reprinted in a scrambled form. The original ballast from the Düsseldorf ship was transformed from its shape as copies of Brancusi's Newborn sculptures to instead match the tile shapes from the floor of Tulips & Roses.

This "second part of 'Force Justify' the tile pattern was again replicated in a series of woven sails, rigged up in the space giving a thwarted ability to move forward. This absurdist sense of agency is typical of the project, a series of misuses of objects and ideas to make immediately appealing stop gaps."

The Good Ship Blank and Ballast (Force Justified), 2010-2012
Woven fabric, Re-cast Aluminium (Dimensions variable)

(...) The sculptures were made out of 98 aluminium copies of Brancusi's Newborn sculpture. These copies were melted down and recast to fit the ornament of the gallery's floor. The notion of 'ballast' implies something that is shaped entirely by its function - simply being dumb weight - without any necessity of representational qualities.

Liquidity in the Mind of the Fool, 2012
Glass, Enamel on copper, Tin, Bronze, Fossils, Shells, Coins, Books (Dimensions variable).

"Liquidity in the Mind of the Fool contains small Brancusi's Newborn sculptures now tumbled and submerged in melted glass or enveloped in Tin. Visible through a melted red glass panel is the original image of the woodcut, now transformed in to a specially printed secure bank note. One of the sculptures is made up of badly minted coins, which present a balance between material and symbolic, with the validating stamp sliding from the face of the metal disc."

See images of Skaer's 'Force Justify (Part 1)', also at Tulips & Roses.

Tulips & Roses

19, rue de la Clé
1000 – Brussels

BELGIUM

Images 1–9: Courtesy of Sarah Ortmeyer and Meessen de Clercq. 

Images 10–13: Courtesy of Lucy Skaer and Tulips & Roses, Brussels. 

All photos: Latitudes | www.lttds.org


This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

La exposición individual 'El Triángulo y el ruido' de Diego Santomé (Vigo, 1966) se articula en dos espacios del Colexio de Fonseca: la Capilla y la Sala del Artesonado. En la capilla gótica del XVII, un monumental 'Triángulo' negro de más de 7 metros de altura busca "el equilibrio mediante la tensión figura-fondo, contraponiendo el objeto en primer plano con su fondo, su contrario." (Texto curatorial de la guía.)

La sala opuesta, la del Artesonado acoge "Ruido", una pieza sonora en la que se escuchan "discursos pronunciados por personajes relevantes de la vida política gallega en el Parlamento de Galicia durante su ubicación en este lugar, el Salón artesonado del Colegio de Fonseca, sede parlamentaria entre 1982 y 1989. Los discursos, que suenan simultáneamente, han sido seleccionados y editados por el artista a partir del archivo sonoro del Parlamento." (descripción cartela de la exposición).

Santomé también participa en la exposición "Gravity and Disgrace", en el CGAC de Santiago de Compostela, una exposición colectiva comisariada por Miguel von Hafe Pérez.



'El Triángulo y el ruido' (6–30 Junio 2012) ha sido comisariada por los alumnos de la V edición del Máster en Arte, Museoloxía e Crítica Contemporáneas de la Universidad de Santiago de Compostela.

Colexio de Fonseca 

Rúa do Franco 

15702 Santiago de Compostela

Fotos: Latitudes | www.lttds.org 
 

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

On June 2, after having visited Manifesta 9, we took the route towards the Belgian city of Kelmis-La Calamine, nearby the German and Dutch border, where we planned to launch the 'Amikejo' publication (Mousse Publishing, 2012) later that day.

Entrance to Kelmis-La Calamine. Trying to match today with the archive material included in the publication.

"The International Office for Travelling Merchants (‘Senpaga Internacia Oficejo por Komerco-Vojagxistoj’) was located in the Bergerhoff Hotel." (Hotel Bergerhoff was located on Luikerstraat, formerly Hasardstraat, in the place which today accommodates the ‘Select’ Café in Kelmis.)" in Ryszard Żelichowski, "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna", one of the texts in 'Amikejo' (Mousse Publishing, 2012. Edited by Latitudes). 

 Welcome to Kelmis–La Calamine.

Façade of the Geuldalmuseum, Göhltalmuseum or Musée de la Vallée de la Gueule (how confusing) on Maxst. 9, Kelmis/Neu-Moresnet, Belgium. Info here. A copy of the publication 'Amikejo' (Mousse Publishing, 2012. Edited by Latitudes) was donated to the museum's archive on our visit.

 Detail of the topological map of the area. In red the Drielandenpunt, towards Aachen, where we'd be going after visiting the museum.

First floor: Introduction to Neutral Moresnet, the first Esperanto state. Those who spoke Esperanto wore a green star (verda stelo). In the picture avid Esperantists Dr. Wilhelm Molly and french professor Gustave Roy, who in 1908 founded the first esperanto state (Amikejo, place of friendship in Esperanto) in Neutral-Moresnet. Summary of its history here.

 Wonderful panels explaining the history of Amikejo, its streets, founders, borders, flag, postcards, maps, stamps, coins, certificates, letters, lyrics of the anthem, coat of arms...

One of the original border markers.

Views of Kelmis–La Calamine and its surroundings.

Flora and fauna of the mining area.

All sorts of graphics and mineral samples of the Limburg mining area.

Stone and mineral samples displayed on pink silk, on yellow and baby blue.

Driving towards Vaals and the Drielandenpunt and going under the viaduct.

The Drielandenpunt today.

Visitors reading about the drienlandenpunt's history and geographical situation.

 Tower from where one can observe Germany, The Netherlands and Belgium from on high.

 Façade of the Waterschei industrial complex of the former coal mine in Genk where Manifesta 9 takes place.

Ni Haifeng's "Para-Production", 2008-12 (ground floor) several tons of discarted fabric from trimmings originated in Chinese factories are re-sawn into a massive tapestry; and Bea Schilgelhoff's silk-screens "I'm too Christian for art" (2012) (top floor).

 Ante Timmermans' "Make a Molehill out of a Mountain (of Work)" (2012), shelves full of packed A4′s to be manually perforated in his office space during the opening days to make a heap of confetti with the resulting paper, placed on a table at the opposite side of the room and overlooking the window that frames the also "perforated" mining mountain. This tiresome and repetitive administrative task concludes with stamping each of the perforated papers (with stamps designed by the artists) and filing them in binders placed in shelves.

 Ante Timmermans' "Make a Molehill out of a Mountain (of Work)" (2012).


 View of the landscape from Ante Timmermans' space and the remaining Waterschei building (not in use).

Back to Žakaitis analysis: (...) The weird part though is that all of these things, displayed in a generic and anemic way, are fenced from Mijndepot Waterschei, a full-blown and fully functioning museum assembled by former miners themselves back in 2004. Be sure to go there if you visit this Manifesta, and check out hundreds of mining tools, helmets, saint statues, a small train, and a 1:1 scale model of a coal shaft: great stuff that can get you really sooty.  

Miners museum in the Waterschei's first floor.

Nicoline van Harskamp, "Yours in Solidarity", 2009–12. Video, audio and archive material.

All photos: Latitudes | www.lttds.org


This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

How can we begin to unpack the complex, multilayered, plural and expansive dOCUMENTA (13)? As the paranormal researcher Charles Fort wrote 'One measures a circle, beginning anywhere'. We photodocumented some of the works on view, and read (and still reading, therefore this blog will evolve over time by incorporating quotations from newly published commentary) several reviews by art writers and critics throughout the past few days which deserve re-reading and further sharing. Here are some highlights of the 2013 iteration.

The New York Times' review by Robert Smith sets the tone: "Ms. Christov-Bakargiev has assembled an immense, unruly organism of a show. It is alternately inspiring — almost visionary — and insufferable, innovative and predictable, meticulous and sentimentally precious. I would not have missed this seething, shape-shifting extravaganza for the world, and I’d rather not see its like again, at least not on this dwarfing, imperious, self-canceling scale."

Filipa Ramos' review on Art Agenda "Postcard from Kassel", begins unraveling the Kunsthalle Fridericianum where we started our tour.

(...) the total bareness of the first rooms of the canonical core, the Kunsthalle Fridericianum, is broken by the display of Kai Althoff’s letter to Christov-Bakargiev explaining his decision not to take part in the exhibition (“life” was more important)—although a work of Althoff’s is, despite this, still featured in the Rotunda [not in the catalogue].

Kay Altoff's letter on display in a vitrine occupies the first empty room of the Fridericianum only accompanied by Ryan Gander's light breeze titled "I Need Some Meaning I can Memorise [The Invisible Pull], 2012. More images of Altoff's letter here via Contemporary Art Daily.

(...) "Before getting there, Ryan Gander’s breeze, I Need Some Meaning I Can Memorise (The Invisible Pull) (2012)—a light wind that caresses one’s skin and hair—and Ceal Floyer’s audio piece, a melodious promise, repeated to exhaustion, of “So I’ll just keep on… till I get it right” (‘Til I Get It Right, 2005), hail the most attentive spectators.

The Guardian's critic Adrian Searle, also highlighted one of wonderful treats in the Fridericianum, the "(...) 400 beautiful, modest postcard-sized paintings of different varieties of apple, by Bavarian pastor and artist Korbinian Aigner. Imprisoned for his anti-Nazi sermons, Aigner worked as a gardener in Dachau and Sachsenhausen, where he cultivated several new varieties, one for each year of his internment. There's pathos here, among these rows of painted apples." [3D view of the room here]



Making way up the Kunsthalle Fridericianum frieze magazine's assistant editor Christy Lange relates her highlights of the venue:

(...) The rest of the proved somewhat uneven in tone: lurching from Goshka Macuga’s large-scale digitally-printed black and white tapestry of a tableaux at a dOCUMENTA-related event in Kabul (featuring an oversized cobra front and centre), to the delicate and haunting hand-woven tapestries of Hannah Ryggen (1894–1970), who reproduced violent scenes of wars and conflicts in a medium that few in the 1930s and 40s would have thought to use to do so. [Here a great set of detailed photographs of Ryggen's work here via Contemporary Art Daily and a 3D view here]

"Both of these works – Lange continues – focusing on weaving dovetailed nicely (if not a bit obviously) with one of the venue’s highlights: Mario García Torres’s installation, which documented his search for the One Hotel in Kabul, Afghanistan, a lodging house run by and resided in by Alighiero Boetti from 1971 until 1977, where Boetti worked to produce his famous series of tapestries made by Afghan weavers (which were supposed to appear in documenta 5, but never did)." [3D view of this piece here]

(...) In the Fridericianum’s cramped Rotunda space, the exhibition displayed the kinds of curatorial flourishes that often seem to accompany a certain kind of anthropological curating that capriciously mixes anthropological artefacts and found objects with artworks. This kind of museological, cabinet-of-curiosities approach, having already been a trope of contemporary artists for a while now, seems especially dated in the hands of a curator. In this darkened space crammed with spot-lit vitrines, I had trouble making the connections between Giorgio Morandi’s paintings, displayed along with actual objects from his studio, and the neighbouring vitrines containing ‘Bactrian Princesses’ – a series of small sculptures of seated women created in the late 3rd and early 2nd century BC in what is now modern-day Uzbekistan, Turkmenistan, and Afghanistan. While these artworks and artefacts are no doubt fascinating, there is no apparent justification for their inclusion together, other than their need to be housed in vitrines, and the fact they probably couldn’t have been procured for any contemporary art exhibition other than this one.

Christy Lange continued to the Ottoneum, which in her opinion "(...) yielded some predictable ‘eco-related’ contributions scattered among the natural history museum displays of taxidermied animals and animal skeletons. (...) it’s worth the trip upstairs to see Mark Dion’s specially commissioned installation. Here he designed an elaborate wooden display case to house the Ottoneum’s unique ‘Schildbach Xylotheque’ – a ‘wood library’ made in 1771–79 of several hundred books carved out of different species of trees. The books are actually boxes that house dioramas inside. Dion’s installation and Schildbach’s library is a felicitous match made in nerd heaven." [360º panoramic view here]




"Nearby in the Neue Galerie, several visitors were fawning in unabashed awe and wonder over Geoffrey Farmer’s impressive installation, which evokes that same sort instantaneous reaction that Christian Marclay’s The Clock recently did, perhaps because of its sheer scale, meticulous detail and the obvious time and manual labour it took to create it." [See panoramic view here]



(...) On a side street near the Rathaus, in a dark hall in a backyard of a house, was Tino Sehgal’s installation, in which, as it only became clear once my eyes adjusted to the darkness, are about 20 young men and women in a circle chanting, singing, marching, and slouching against the wall. At a certain point, still in the dark, they start conversing about ‘income’ and ‘output’ and ‘satisfaction’ – I guess the point at which it starts to feel like a Tino Sehgal performance? But the performance still captivates for two main reasons: though it takes place in darkness, it unexpectedly becomes about our vision, or the limits thereof, more than any of our other senses. And because it still has that skilful Sehgal twist, which all his best piece have, by which you, the audience member, suddenly and unexpectedly find yourself centre stage, playing the somewhat sheepish performer. 

Adrian Searle also favourited Sehgal's "(...) magnificent performance piece behind a decaying Huguenot house. Performers stamp and sing, whisper, holler and dance. They go through little routines as I stumble between them. Sehgal's exhilarating 'This Variation' is among the best things in Documenta, as is choreographer Jérôme Bel's Disabled Theatre, a confrontational performance made in collaboration with actors with learning difficulties. Both Bel's and Sehgal's work concern presence and presentness, what it means to be a spectator." [In depth text on Sehgal's 'This variation' art-dance-music piece also by Adrian Searle here].

Dan Fox, Senior Editor of frieze magazine, analisis went on describing the "punch-drunk with politically hectoring or ‘we are the world’ approaches to large-scale exhibition making that would make even Bono seem modest in his outlook, I expected more of the same, yet dOCUMENTA (13) is an exhibition of subtlety and imagination, if somewhat over-optimistic in its attempts to get audiences to engage with other areas of intellectual activity, such as quantum physicists (as could be found in the Fridericianum, next to Mario García Torres’ work about Alighiero Boetti’s One Hotel in Kabul)." Fox ends his report reflecting on this year's title: "(...) However, one crucial question remains. Does the overlaboured spelling ‘dOCUMENTA (13)’ herald a return of the early 1990s exhibition title? ‘Site/[in–]Sight’, ‘(in–)TERRA–gating Gender’…"

Sam Thorne's overview of Karlsaue's park: "Carolyn Christov-Bakargiev offered artists a prefab house to work with. Responses range from Pedro Reyes’s ‘sanatorium’ (offering art-themed counselling) and Raimundas Malašauskas and Marcos Lutyens’s hypnosis sessions to mini solo presentations, by artists including Rosemarie Trockel and Joan Jonas. Elsewhere, there are various takes on public sculpture, from gimmicky pieces like Massimo Bartolini’s wave pool and Anri Sala’s perspectivally-skewed clock [Latitudes' note: it seems to us that many failed to understand that the clock was 'frontly' visible from one of the telescopes (the Refraktor Linsenteleskop, 1976) placed on the top floor of the Orangerie] to a characteristically elegant collection of works by Carol Bove." 

 

 Anri Sala, Clocked Perspective, 2012, at the far end of the Hirschgraben, one of the two canals in the Karlsaue park. More images here via Contemporary Art Daily.


 Carol Bove's tableau of elements in the Flora garden of the Karlsaue Park.

Thorne continues "Highlights for me included Pierre Huyghe’s beehive-headed (Maillol?) sculpture, installed in a swampy copse and invigilated by a pink-legged dog, in earshot of an immersive, atavistic sound piece by Janet Cardiff and George Bures Miller. [See 3D view here] More difficult to locate is a shaded house crammed full of new and old work by the Brazilian septuagenarian Anna Maria Maiolino – though it’s well worth finding."

Pierre Huyghe's "Untilled. Live things and inanimate things, made and not made" (2011–12) photographed during the opening week. An entropic gesamtkunstwerk of plants, bees, concrete, mud, plants, tree branches, bacteria, dogs, construction materials... 3D view of the piece here


 Huyghe's piece photographed 100 days after during the last week of documenta (13). 

 Anna Maria Maiolino, "Here & there" (2012) different coloured modeled clay cover the rooms of the former gardener's house in Karlsaue park.

(...) erecting a crane-sized bar graph depicting wealth disparity in America, with every 1cm representing $100 and, when it got too tall, using a helicopter to soar 225 meters up in the sky to represent, hyperbolically, the top 1%. (...) On opening day, a red carpet stretched along the grass leading the 50 people who had bought tickets for a flight. The 99%, meanwhile, could pay a coin of their choice in any currency for a lottery ticket and the chance to win a ride. Between 10 am and 8 pm, the Critical Art Ensemble planned to give about 300 rides.

Jerry Saltz wasn't at all convinced about their contribution, and labelled the work 'immoral': (...) "viewers ride in a helicopter to heights corresponding to their net worth. The work is supposedly about wealth accumulation and is an anti-market gesture. Surely it cost more to stage for a day than many museums and galleries can spend or generate in a year, or than most artists earn in a lifetime."
 

Critical Art Ensemble's “A Public Misery Project: A Temporary Message to Global Economic Inequality”.

Natascha Sadr Haghighian's "Greening the rubble of Kassel: construction work on the war debris heaped up along the Karsaue for the Federal Horticulture Show". Picture of the staircase that connects Schöne Aussicht with the Karlsaue park via an 'alternative' route on a slope. "Onomatopoeic animal sounds in different languages emanate from the bushes and trees as the visitor descends to the park. The web-based trail d(13)pfad.de is a collaboration with Pola Sieverding and accompanies the physical trail. It contains materials connecting to the rubble, the plants, the animals, the people and the languages Natascha and Pola encountered on the trail." (from D13's web)

 Jimmie Durham's "The History of Europe" (2011) in a (hot) greenhouse at Karlsaue park. 
Additional images here by Contemporary Art Daily.

 Maria Loboda's moving forest of potted cypress trees "The Work is Dedicated to an Emperor" (2012). The army of trees is being moved through the landscape during the exhibition period following different military positions, progressively conquering the Orangerie. 

Jörg Heiser's reviewed Kassel's off-the-main-site venues on frieze blog, starting with a 'heads up' around their number and distance:

Given that there are 30 documenta sites in Kassel – one of which, the vast Karlsaue park, features 53 projects alone – you might be tempted to skip these off-the-main-sites ones. Especially if you also planned to take a few weeks off and devote a lot of time and money to also visit the official documenta events scheduled to take place in Egypt, Afghanistan, and rural Canada. (There seems to be a logic of overbidding in place: not only more, but evermore remote and difficult sites; in 2002, there were documenta ‘platforms’ in Lagos or the Caribbean; in 2007, ElBulli restaurant in Spain was declared a site; so how could the director of the next documenta in 2017 top that – Antarctica? Waziristan? Chernobyl? The moon?)

(...) A few houses down the street is an elegantly modest presentation by Francis Alÿs of postcard-size paintings juxtaposing fragmented scenes from Kabul with abstract colour studies reminiscent of television test screens, testifying to doubts about the possibilities of ‘appropriately’ representing a war-torn nation but the need to still do so (while a simple note pinned to a board read, line after line, ’1943, I think about Morandi painting on top of a hill surrounded by fascism, I think about Picabia finding inspiration in soft porn magazines on the Côte d’Azur… I think about Leni Riefenstahl filming Tiefland with extras from concentration camps… I think about Blinky Palermo born in the rubbles of Leipzig…’). 

 Francis Alÿs in a former bakery in Obere Karlsstr. 4

Heiser also highlights Tacita Dean, whose "film project involving a cameraman commissioned to film in various locations in Kabul didn’t come through because the footage turned out to be flawed, but Dean made the best of it by realizing a whole set of large-scale chalk on blackboard ‘murals’ filling most walls in a former tax office space [in Spohrstr.7] dominated by a beautiful brass-railed staircase and balustrade."

Adrian Searle went on describing Dean's blackboard drawings: "(...) some are near-empty, just turbid blackness; others are filled with moiling rapids and rushing rivers. There are sunlit mountaintops, dusty avalanches, chalky wipe-outs. The six panels are a sort of storyboard, an evocation of an elsewhere. Dean's drawings are, I think, about time: geological time, the flash of a life, a passing thought."

Tacita Dean, Fatigues (2012). Blackboard-drawings in a former tax office. 
More detailed photos via Contemporary Art Daily.

Back to Heiser's words – he made his way to the vaults of a bunker underneath Kassel's vineyard terrace: "(...) Here, Allora & Calzadilla’s film Raptor’s Rapture (2012) was congenially placed: its point of departure is the unearthing, in 2009 in a cave in Southern Germany, of a flute that was carved 35000 years ago from a griffon vulture’s bone. The artists asked a flautist to try playing the flute in a studio setting confronting her with the presence of a living griffon vulture. The animal reacted rather stoically to the flautist’s systematic probing of different techniques of blowing, suggesting a time capsule being opened for the first time (the equivalent of archaeologists in the distant future retrieving data from an ancient computer hard drive). Given that the griffon vulture itself is a highly endangered species, the staging of the animal listening to an eery tune whistled on a bone of its one species nevertheless had an intentionally perverse and tautological undertone, emphasized by the slow and painstakingly precise camera work."

And then concludes with a long description of his experience when seeing Jérome Bêl’s 'Disabled Theatre' (2012) performance piece which "carried all the way through 90 minutes of uneasy, preconception-probing estrangement and empathy."

The curtain opens and a stoically calm ‘instructor’ seated at the side of the stage, operating a simple p.a. system and also doubling as a translator from German into English, announces that the actors of the piece have been asked by Bel to first appear, one at a time, on stage to stand still for about a minute. The eleven protagonists do so, and after a short while it becomes clear that the title of the piece is to be taken literally: a majority of them appear to be handicapped given the physical attributes of Down Syndrome. This creates obvious unease on the part of a self-assumingly ‘intelligent’ audience in terms of staring at a supposedly ‘handicapped’ person in such a way as if subjected to enforced voyeurism. But this was only the first of five stages that gradually unravelled that very unease, however never giving in to simple comic relief, cynicism, or sentimentality. The second part again announced and explained in simple terms just as the following ones, involved a microphone stand being put up at the same spot at the centre of the stage, this time involving the protagonists giving their name, age, and profession. As for profession, all of them said “actor” – which is indeed the case, since they are members of the Zurich-based theatre group HORA. The third part involved the question of them being asked what their disability was – and they simply stated it on a spectrum from learning disability to the different terminologies of ‘Down Syndrome’, ‘Trisomy 21’, or, as one protagonist said of herself in a proud retort to medicinal as well as derogative terminology, ‘I’m a fucking mongoloid’.

The fourth and fifth part followed essentially the classic logic of climax and denouement: the fourth involved seven of the actors doing short dance performances according to their individual musical choreographical choices. (...). ‘Dancing Queen’ by Abba is a song that moves me even if it is played in a Muzak version in a hotel lobby; here the same performer who had described herself as ‘mongoloid’ danced to it with Heavy Metal dedication – the applause was roaring, and mixed feelings gave way to a momentary rush of shared enthusiasm. But the fifth and last act involved the simple question put to the performers what they thought of Bel’s piece: some simply said ‘great’ or ‘good’, while others went into detail and told little stories. One of them quoted his mother saying she thought it was a freakshow but that she liked it anyway. Another said his sister cried in the car, saying he had been put on display like in a circus. This was not just a tired exercise of deconstructive self-reflection (as is so often the case with contemporary work) but a gradual shift from the authoritative, absent voice of Bel (...) to the autonomous voices of the protagonists themselves, who elegantly frustrate precisely the freak show tendency by taking the opportunity to voice their observations or, simply, performing their very own dance. 

There is a number of artists who could learn a lesson or two from Jérôme Bel’s piece, in terms of how it doesn’t shy away from difficult confrontations and yet steers clear of simplistic demonstrations of ‘taboo-breaking’ or – equally annoying – moralist complacency. I’m glad I didn’t miss it.

When describing the effect of seeing this piece, New York Magazine Jerry Saltz wrote he "was shaken to the core by the formal and emotional pathos in Jérôme Bel’s “dance” involving people with Down syndrome who simply stood onstage, danced for two minutes, then spoke about their perceptions of us watching them. A fourth wall shattered here into a fifth dimension."

Afghanistan was certainly present in many of participating artists' projects. In her review 'Kabul in Kassel, Kassel in Kabul', Emily Nathan from Artnet Magazine unpacks the lingering question of “Why Afghanistan?”:

"In answer to the question, [Carolyn Christov-Bakargiev] drew a parallel between Documenta’s original founding in 1955 amidst the rubble of World War II, and Afghanistan’s current state of reconstruction, such as it is. By inserting contemporary art from the west into the mix, she said, she wanted to create a bridge between Kabul’s vibrant international past and her own present -- “to act as if the situation was not what it is, as if the barriers, the conflict, the occupation in Kabul did not exist...continuing the daily life required by and inevitable while living in a militarized zone.” 

While this act of “radical imagination” is well-intentioned, it is nonetheless problematic, and the issues it brings up about art’s instrumentalization in places of violence and injustice were the subject for the panel, which featured the likes of Chus Martinez, Giuseppe Penone, Mario Garcia Torres, Francis Alÿs, Adrian Villar Rojas and a handful of young Afghan artists who participated in the seminars. In a gesture of cultural exchange, the work they created during the workshops is on view in Kassel’s various exhibition venues for Documenta, and will also be part of a final presentation in Kabul that opens this month. 

 Francis Alÿs small-sized paintings exhibited in a former bakery in Obere Karlsstr. 4.

(...) Most speakers followed suit, describing how grateful they were for the resources Documenta had provided and what they had learned. But one Afghan student spoke directly. “In the past few years,” he said, “Afghanistan has been entirely shaped by an infrastructure of ‘development.’ Documenta had no such pre-conceived program in mind for us; it made no claims for success or reconstruction. I found that liberating.”

Michael Rakowitz, an artist who led a stone-carving seminar in Bamiyan near the site of the stone Buddhas destroyed in 2001, was equally frank. “To ask how art might be enlisted in the service of rebuilding the culture of a devastated land and people,” he said, is “an incredibly problematic gesture, and that is what makes it good and important.” He sourced his decision to participate in the program to the realization that not participating would be a submission to his own sense of guilt, “which is related to political correctness,” which he sees as a sort of reverse-racism. [3D tour of his contribution here]

Michael Rakowitz space in the ground floor of the Fridericianum.
More detailed images here via Contemporary Art Daily. 


 Detail of Rakowitz's installation.

(...) Indeed, the idea of context is one of the more salient issues in Bakargiev’s exchange program, since the works were made in Afghanistan during a particular period but have been displaced to Kassel for the exhibition. How can their significance be translated?

Another Afghan artist involved with the “Archive Practicum” project (...) took the mic. (...)“It’s hard, if not impossible,” he said, “to stay out of the mess of politics and war when involved in the cultural realm; one is translated onto and into the other. But what I discovered through these seminars,” the artist said -- lapsing into the kind of vague academic jargon that is all too popular on the international art circuit -- “is that it’s not about finding the ‘appropriate’ translation for an idea or a context, but rather problematizing the translation process and making space for its contradictions and limitations.”
 

“For me,” [Carolyn Christov-Bakargiev] concluded, “the image of Morandi sitting in his studio painting vases, one after the other, with Fascism all around him -- that is what art can do.”

Back to Filipa Ramos' remarks on the Hauptbahnhof:

"Into the north wing of the train station, one happens upon an installation in a house by Haris Epaminonda and Daniel Gustav Cramer offering up an equally inebriating experience through arrangements of images, texts, letters, and found objects, mostly from domestic contexts, combined with multiple projections in a chiaroscuro labyrinth of rooms. This is surely one of Epaminonda’s most complex projects up until now, and it presents itself as one of the many museum-like configurations to be seen in Kassel."

 Haris Epaminonda & Daniel Gustav Kramer in the two floors and attic of a former office building behind Kassel's Hauptbahnhof.

More Hauptbahnhof highlights, and back to Dan Fox's words:

(...) A three-channel film by Clemens von Wedemeyer (Muster (Rushes), 2012) was a sophisticated and beautifully directed look at how historical meaning is established and grows across generations; its first chapter looks at Nazi atrocities committed in an old building in Kassel, then looks at a group of young actors attempting to make radical work in that venue, followed by a group of teenagers being taken on a tour of the grounds as an audio guide tells them of the horrors that had occurred there. Also of note was Javier Téllez’s film Artaud’s Cave (2012), elaborately installed in an imitation cave-cum-Aztec temple, and made in collaboration with residents of a psychiatric hospital in Mexico City; a film that excavated Antonin Artaud’s experiences in Mexico. [Great 3D view of the cave entrance here]

 Still from Javier Téllez's "Artaud's Cave", 2012.

And still some more highlights:

(above and below)  Lara Favaretto's "Momentary Monument IV (Kassel)", 2012.

More detailed images of her two-part presentation here via Contemporary Art Daily. 
A great 360º panoramic view here.

 Haegue Yang's motorised Venetian blinds in Kassel's former central station. 
A lot more detailed images here by Contemporary Art Daily.

 And off-site, at the Ständehaus:

 Dora Garcia's weekly TV show 'Klau Mich' (die Kalu Mich Show) studio. 
Fully comprehensive website here (with videos, agenda, blog...).

 Xabier Salaberria (although not listed as D13 participant) design for the Absolute bar at the foyer of the Ständehaus. [Panoramic view here]

One final observation from Quinn Latimer's review on Art Agenda:

"(...) despite the attention fostered by both Christov-Bakargiev herself and her critics on her vaunted interest in the nonhuman world, what I found most startling about Documenta 13 was how entirely human it was, and how engaged with the world that we (joyfully, sorrowfully, weirdly) inhabit. If that sounds lamely human-centric and passé, so be it. It’s a deeply intelligent, stringent, surprising, and entirely committed (yes, that word again) showing of the potentiality of private lives accorded the most public of stages."

And, more final statements by Carolyn Christov-Bakargiev when interviewed by Rotterdam artists Bik Van der Pol: (...) "In order for democracy to move forward, we have to constitute the subject as a subject and give up any pretension of ownership and exclusivity that we might have about subjectivity. It is about empowering, and the right to determine the environment in which we all live."

More photo reports via Contemporary Art Daily and Flash Art online and Universes in Universe and preview videos via Vernissage TV and below our slideshow with over 200 pictures:

All photos: Latitudes | www.lttds.org


This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

 '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. 

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)

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.

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.