Casa del Lago. Photo: Fabiola Iza

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Opening: Thursday 27 September, 19.30h

Latitudes has been invited to participate in La Sucursal (The Branch), one of the programme strands of Casa del Lago for which self-organised, self-funded or non-profit organisations temporarily move their offices to Casa del Lago in order to expose the cultural strategies of such forms of organisation.

Alongside 'Projects 2005–2012' – a visual index of the thirty projects realized since 2005 – Latitudes will originate 'Incidents of Travel' from its temporary office in La Sucursal. Artists  Minerva Cuevas, Tania Pérez Córdova, Jerónimo Hagerman, Diego Berruecos, and Terence Gower will develop day-long tours for Latitudes, articulating the city and their artistic practice through routes and waypoints in the metropolitan area. Documented and mapped in La Sucursal, the project aims to explore the chartered itinerary as a format of artistic encounter with the capacity to bypass the convention of the studio visit through highly specific views of the city.

+ info

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Inauguración: Jueves, 27 de septiembre, 19.30h

Latitudes ha sido invitada a participar en La Sucursal, una de las cinco plataformas que estructuran la programación de Casa del Lago en la que iniciativas autoorganizadas o sin fines de lucro, utilizan el espacio de Casa del Lago como una sucursal de operaciones, una suerte de oficina temporal, con el fin de exponer sus propias estructuras de organización. 

Junto a 'Proyectos 2005-2012' – un índice visual de treinta proyectos realizados desde el 2005 – Latitudes realizará el proyecto "Incidentes de viaje" desde su oficina temporal en La Sucursal. Los artistas Minerva Cuevas, Tania Pérez Córdova, Jerónimo Hagerman, Diego Berruecos y Terence Gower, desarrollarán tours de un día de duración para Latitudes, articulando su práctica artística y la ciudad a través de rutas y puntos de interés en el área metropolitana. Documentado y cartografiado en La Sucursal, el proyecto tiene como objetivo explorar la idea de itinerario como un formato de encuentro y eludir la convencional visita de estudio a través de puntos específicos de la ciudad.

+ info 



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

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On September 9th at 19h, Latitudes will be participating in the "Readers Circle: 100 Notes - 100 Thoughts" programme organised within the Maybe Education and Public Programs of dOCUMENTA (13), for which they will be reading the publication "No. 008: Lawrence Weiner – IF IN FACT THERE IS A CONTEXT" (Hatje Cantz Verlag, 2011).

| ES |

El domingo 9 septiembre a las 19h, Latitudes participará en el "Readers Circle: 100 Notes - 100 Thoughts" programme organizado como parte del Maybe Education and Public Programs de dOCUMENTA (13), durante el cual leerán la publicación "No. 008: Lawrence Weiner – IF IN FACT THERE IS A CONTEXT" (Hatje Cantz Verlag, 2011).

"Lawrence Weiner – If in Fact There Is a Context" (2011)

by Lawrence Weiner

Series: dOCUMENTA (13): 100 Notizen - 100 Gedanken No. 008

English, 24 pp., 10.60 x 14.90 cm, softcover

ISBN 978-3-7757-2857-7

Buy here

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.

dOCUMENTA (13) continues in Kassel until 16 September 2012. Over the years we've had the pleasure to work with many of the featured artists in various ways, from commissions to symposia, to interviews. Here's a partial view of dOCUMENTA (13) through the projects of Latitudes.

Amy Balkin's work in the Friedericianum documents her attempt to have the world's atmosphere added to the UNESCO World Heritage List. Latitudes presented an earlier iteration of this work, Public Smog (2004-ongoing), in Greenwashing. Environment: Perils, Promises and Perplexities at the Fondazione Sandretto Re Rebaudengo, Turin in 2008. She also contributed to Land, Art: A Cultural Ecology Handbook with her This is the Public Domain Project (2003–ongoing).

Amy Balkin's 'The is the Public Domain', in Land, Art: A Cultural Ecology Handbook. Photo: Robert Justamante. Courtesy: Latitudes.

Both Greenwashing and Land, Art also included the work of Maria Thereza Alves (whose work about Lake Chalco in Mexico City is included in the Ottoneum), the latter with the text 'No Brazil Without Us' by Alves, together with another dOCUMENTA (13) artist, Jimmie Durham. Latitudes also presented Alves' work 'The Sun' (2006, 5'03") in the 2008 film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008', which began at the Museo Tamayo in Mexico City and toured to eight more venues between April and October 2008. The film features the story of Viganella in the Italian Alps, a small village surrounded by a steep valley that does not allow any direct sunlight during the winter months. Viganella's 200 inhabitants decided to place a large computer-operated mirror at a strategic angle on the south-facing slope on the mountainside in order to reflect the sun on the village’s main piazza.

Mariana Castillo Deball – as uqbar, with Irene Kopelman – was one of the four exhibitions in Latitudes' 2009 series Amikejo at the Museo de Arte Contemporáneo de Castilla y León (MUSAC), León, Spain: "a psychedelic chiral ecosystem, featuring hanging papier-mâché epiphyte sculptures and ... fables among non-humans and drawings of hybrid creatures”. Castillo Deball was also part of our film programme What are we going to do after we’ve done what we’re going to do next?, for The Uncertainty Principle, at MACBA, Barcelona in June 2009, a project which functioned as a 'trailer' for Sequelism Part 3: Possible, Probable, or Preferable Futures, the exhibition we curated with Nav Haq at Arnolfini, Bristol, 18 July–20 September 2009. Both the latter projects featured Castillo Deball's Nowhere was Tomorrow (2007) her film which weaves the stories of a defunct accelerating ageing machine, a sprawling fig tree and the remains of a Roman bath in Serbia. 

Mariana Castillo Deball, 'It rises or falls depending on whether you're coming or going. If you are leaving, it's uphill; but as you arrive it's downhill', 2006. 'Extraordinary Rendition', NoguerasBlanchard, Barcelona, 22 March – 19 May 2007. Photo: Robert Justamante. Courtesy: Latitudes.

Extraordinary Rendition, which took place at NoguerasBlanchard, Barcelona, 22 March–19 May 2007, included Castillo Deball's installation It rises or falls... (2006) in which she revisited a popular legend around the looting and transportation of the colossal stone statue of Tláloc to the National Museum of Anthropology in Mexico City in a series of lithographs. These were presented in parallel with a selection of audio interviews with antique dealers in Amsterdam and Barcelona, who discussed their profession's role in the creation of value, and the uncertainties of the market. Roman Ondák, whose work appears in the Neue Galerie at dOCUMENTA (13) was also part of Extraordinary Rendition with the work Untitled (Traffic), 2001, as was Natascha Sadr Haghighian (whose work in Kassel can be found on a slope of the Karlsaue park), here with the short video Embargo Embargo (2003) and the sound installation Elsewhere 3 (2005/7).

Mario Garcia Torres's film Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art (2004) was – alongside Francis Alÿs – a part of the Latitudes' film programme A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008, which premiered at the Museo Tamayo, Mexico City, Mexico, in April 2008, before a seven-venue tour in Europe. Judith Hopf & Deborah Schamoni's Hospital Bone Dance (2005) was part of X, Y, etc.! a video programme made for Artissima 15 in 2008 which was motivated by the methodological project of Charles Fort, while an article about Emily Jacir by Greg Barton featured in The Last Newspaper (The Last Express).

Renata Lucas's work at dOCUMENTA (13) imagines a fictional monument underneath Kassel. She was one of the four artist tutors who led a week-long workshop during Campus, the unaccredited art school directed by Latitudes for the Espai Cultural Caja Madrid Barcelona in summer 2011.

'Emergencies and Risk' seminar at the Sharjah Biennial 8 symposium. Michael Rakowitz with Susi Platt (Architecture for Humanity's leading post-Tsunami reconstruction designer, Sri Lanka) and Mehdi Sabet (Associate Professor, Architecture & Interior Design, School of Architecture and Design, AUS). Photo: Latitudes.

Michael Rakowitz led a seminar on 'Emergencies and Risk' as part of the three-day symposium Latitudes organized for the 8th Sharjah Biennial, the United Arab Emirates in April 2007. An interview with Rakowitz by MoMA Ps1 curator Peter Eleey – entitled 'We Sell Iraqi Dates' – featured in UOVO/14 Ecology, Luxury & Degradation, which Latitudes guest edited in summer 2007. (UOVO/14 also includes an article by dOCUMENTA (13) Core Agent Chus Martínez on Arturas Raila).

Lawrence Weiner's work for dOCUMENTA (13) is inscribed on the glass wall in the Rotunda of the Fridericianum "brain". In 2008, Latitudes presented a new project with Weiner in Barcelona's Fundació Suñol entitled THE CREST OF A WAVE. On 9 September 2012, 7pm, Latitudes will be reading Weiner's "008: Lawrence Weiner: IF IN FACT THERE IS A CONTEXT" as part of dOCUMENTA (13) "Readers’ Circle: 100 Notes–100 Thoughts".

Gustav Metzger's RAF/ Reduce Art Flights project was implemented and presented as part of Greenwashing. Environment: Perils, Promises and Perplexities at the Fondazione Sandretto Re Rebaudengo, Turin in 2008, and later included in the 2009 exhibition 'Gustav Metzger, Decades 1959–2009' at the Serpentine Gallery in London. Serpentine Gallery curator Sophie O'Brien wrote this feature on Metzger for Latitudes' project The Last Newspaper (The Last Monitor). 

During The Dutch Assembly at ARCOmadrid 2012, Kunstverein Amsterdam's 'KV Auction' event was hosted by Gabriel Lester, whose Music for Department Stores (2012) can be found (or rather listened to) in Kassel's Kaufhaus. Lester has a further work in the vast Karlsaue Park – Transition 2012 (2012) – which also hosts the work of Maria Loboda. Exposition Internationale des Arts Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne, at Meessen De Clercq, Brussels, Belgium, 25 February–16 April 2011 included Loboda as one of its five artists. She presented two works which incorporated printed fabric patterns inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler and Mitzi Friedmann-Otten. Furthermore, The Dutch Assembly at ARCOmadrid 2012 also featured Rabih Mroué as the guest of BAK, Utrecht.

Tue Greenfort, Untitled, installation of 3 transparent-sided Eurobins outside the exit ramp of Frieze Art Fair, Regents Park, London, October 2008. Photo: Latitudes

Also in the Karlsaue Park is The Worldly House, a multispecies archive project put together by Tue Greenfort. Latitudes collaborated with Greenfort on several occasions, notably for a public-realm commission in London in conjunction with the Royal Society of Arts, and through contributions to the magazine UOVO/14, the exhibition Greenwashing, and the publication Land, Art: A Cultural Ecology Handbook. The latter two projects also included works by Jennifer Allora and Guillermo Calzadilla. (And in addition, dOCUMENTA (13) artists Francis Alÿs, Brian Jungen and Natascha Sadr Haghighian also featured in Land, Art.)

Haris Epaminonda and Daniel Gustav Cramer's work at dOCUMENTA (13) take over two floors and the attic of an office building behind the Hauptbahnhof. 'The Garden of Forking Paths', which Latitudes presented at Maisterravalbuena, Madrid, 28 May–31 July 2009, featured the duo's The Infinite Library (2007–ongoing), a seemingly arbitrary archive of spliced publications. Elsewhere in the Hauptbahnhof 'constellation' Lara Favaretto's Momentary Monument IV (2012) comprised a dramatic mass of scrap metal. Mariana Cánepa Luna's interview with Favaretto was published in UOVO 16, January 2008 (pdf here). Haegue Yang was the subject of an interview by Doryun Chong in UOVO/14, Ecology, Luxury & Degradation.

Haegue Yang on the cover of 'The Last Star-Ledger' as part of 'The Last Newspaper', New Museum, New York, 2010. Photo: Latitudes

Yang was also our cover star for The Last Newspaper's The Last Star-Ledger, as well as presenting a major installation as part of Sequelism Part 3: Possible, Probable, or Preferable Futures, Arnolfini, Bristol. (You can download a pdf of Max Andrews's 2009 essay for 'Towards Haegue Yang’s Blind Rooms', published in Haegue Yang. Symmetric Inequality / Desigualdad Simétrica, Sala Rekalde, in English or Español. Sticking with writings, you can check out Andrews's essay on Dora García for Frieze here).



Ayreen Anastas and Rene Gabri – as eXplo – spoke at the symposium Latitudes put together for 'Art, Ecology and the Politics of Change', Sharjah Biennial 8, United Arab Emirates, in April 2007. Last but not least, Ines Schaber's work at dOCUMENTA (13) explores the history of the former monastery, workhouse, and correctional facility at Breitenau. For The Last Newspaper's The Last Gazette, Schaber presented Picture Mining, her research into Lewis Hine in the context of the Corbis archive, housed in a former mine in Pennsylvania.

Read our report dOCUMENTA (13), with photos and critics' comments. Full photo tour here.

–

All photos: Latitudes | www.lttds.org (unless credited otherwise in the caption)


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

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.