2012 "Frieze week" in pictures
Sat, Oct 20 2012A report in pictures from Frieze London (now in its 10th year!) & the inaugural Frieze Masters (11–14 October) as well as concurrent shows in London.
And elsewhere in London...
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.
2012, Fischli and Weiss, Franz West, Frieze Art Fair, Grizedale, Ian Kiaer, London, Pak Sheung Chuen, Paul Sietsema, photo, report, Sarah Lucas, Theaster Gates, Thomas Bayrle, Thomas Houseago, Tino Sehgal
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| Rirkrit Tiravanija light box at Koo Jeog A floor at the stand of Pilar Corrias. |
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| "Colosseum of the Consumed" by Grizedale Arts & Yangjiang Group was one one of the six Frieze Projects this year. (Unfortunately we didn't get a photo of the tomato battles.) There's a nice article about the endeavor over at Another Magazine. |
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| Colosseum of the Consumed: Various advanced pickled food, kimchi and pickled eggs. Would make an interesting breakfast. |
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| Too distracted by the boomerangs and Inuit carvings at Frieze Masters to take many photos, but the stand of Sfeir-Semler presenting works by the Emirati conceptualist Hassan Sharif was a highlight. |
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| Back in the main tent, Geoffrey Farmer – he of the 'leaves of grass' Life magazine work at dOCUMENTA (13) – presented a solo booth with Casey Kaplan. |
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| Chantal Crousel's stands are always immaculate ("What a Load of Rubbish" is by Claire Fontaine, the lamps by Haegue Yang). In the foreground is the seating area with Thomas Bayrle's "La vache qui rit" motif, another of the Frieze Projects. |
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The Modern Institute/Toby Webster: Simon Starling in the back, Jeremy Deller in the front (a work which refers to this relevation.) |
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| Aslı Çavuşoğlu's Frieze Project: ""Murder in Three Acts" was inspired by the representation of art in popular media, particularly in television crime series in which the artworks don’t solely exist in the background of the show, but become a vital part of the script: exhibitions function as crime scenes and art works act as murder weapons." |
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Vitamin Creative Space, with works by Pak Sheung Chuen, was awarded the Best Stand prize. Here, some left hand / right hand peanuts.  |
Tino Sehgal's Unilever series commission at Tate Modern's Turbine Hall (above and below). Go see it, photos don't do justice to the piece!
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| Gagosian (Britannia Street): works by the recently departed Franz West. |
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| Detail of Franz West's show at Gagosian (Britannia Street) |
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| Bjarne Melgaard: A House to Die In until 18 November at ICA London. |
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| Thomas Houseago at Hauser & Wirth |
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| Thomas Houseago at Hauser & Wirth |
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| Fischli & Weiss at Sprüth Magers. More installation shots here. |
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| Sarah Lucas & Franz West at Situation / Sadie Coles (First Floor, 4 New Burlington Place). One of the most interesting shows in town. |
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| Stuart Shave/Modern Art presented David Noonan, nine new silkscreen works on linen. |
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| Ian Kiaer at Alison Jacques Gallery |
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| Theaster Gates at White Cube Bermondsey. The Shard in the background. More info and images of the show (as photos were not allowed inside the gallery) in this Domus interview with Martina Angelotti. |
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| Artist Placement Group 1966-79 at Raven Row. Always beautiful galleries and great shows. |
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| Falke Pisano at Hollybush Gardens. |
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| Mike Bouchet at Hotel. |
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| Klaus Weber at Herald St. |
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| Maureen Paley with the work of Liam Gillick. |
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| The Drawing Room presented the first major exhibition by Paul Sietsema in the UK. |
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| SUNDAY was organised by three of the participating galleries: Croy Nielsen (Berlin), Limoncello (London) and Tulips & Roses (Brussels). |
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| Work by Spartacus Chetwynd at the Turner Prize show at Tate Britain. |
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| And last but not least, a shot from the amazing Tarek Atoui-led musical extravaganza at the Serpentine on 12 October. |
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.
September/October Mexico City photo report
Wed, Oct 17 2012LABOR and kurimanzutto both opened on the 20th September. LABOR's solo exhibition of Terence Gower (one of the five artists invited by Latitudes as part of the 'Incidents of Travel' project documented at Casa del Lago). His 'Ottagono' exhibition presented new and old works "that extended the artist investigation into the realm of abstract art" (quote from the press release), including the 2010 video "New Utopias", "Noguchi Galaxy" (2012), the sculpture group "Display Modern (Hepworth)" (2007) as well as paintings on photographs "Latin American Architecture" (2012), amongst others.
The Museo Experimental El Eco also had a book launch that evening, and upstairs the project "FRANCE FICTION: Vinimos a soñar" by Paris-based curator Jennifer Teets could be seen.
kurimanzutto began the 2012-13 season with Untitled 2012, (All those years at No. 17E London Terrace), a collaboration between visual artist Rirkrit Tiravanija and musician Arto Lindsay, for which the artist recreated Lindsay's New York flat and copied around 2000 CDs and books he has had in storage in New York. Lindsay played the following day at Cine Tonalá and hung out in his new plywood mexican home the following week recording music and talking with visitors. Also, in the project space, was Paloma Polo's 'Posición Aparente' (recently exhibited as part of Reina Sofia's Fisuras programme). On view until 3 November. ( gob. Rafael Rebollar 94, Col. San Miguel Chapultepec, 11850 México D.F.) http://www.kurimanzutto.com
During installation we escaped for a lunch break and a visit to the recently extended Museo Tamayo Arte Contemporáneo in the Bosque de Chapultepec. The Tamayo hosted an impressive roster of exhibitions: two group shows and three solo presentations, besides a selection of Tamayo's work: 'Primer Acto' (a group show on the idea of inauguration and the opening act), 'El mañana ya estuvo aquí' (a group show with works around the idea of retrospective visions of the future of modernity), Ryan Gander's 'Boing, boing, squirt'; Pierre Huyghe's 'El día del ojo' (a three part piece consisting of a permanent sculpture of a fish tank with blind fish and volcanic rocks; a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca; and a publication) and the project 'Nueva Matemática' by Michael Stevenson.
Wilfredo Prieto's red carpet welcomes visitors.
SUPERFLEX's visitor counter outside the museum.
Central courtyard with Pierre Huyghe's fish tank with blind fish and volcanic rocks (background and below); a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca.
The day after our Casa del Lago opening we visited the Museo Universitario Arte Contemporáneo (MUAC) which had shows of Edgardo Aragón ("Por amor a la resistencia"), an impressive Teresa Margolles
piece, "La Promesa", following the focus of her long-term investigation
on Ciudad Juárez as a political and social context, and "Ejercicios de
Resistencia" by Nicolás Paris. Downstairs there was an archival display of Felipe Ehrenberg's collection fund.
Façade of the museum in the University (UNAM) campus.
Entrance foyer and lower level.
"Ejercicios de
Resistencia" by Nicolás Paris.
Stairs to the restaurant, auditorium and library.
Downstairs archival material of Felipe Ehrenberg's collection fund.
At MUCA-Roma we visited the group show "Colección: El crimen fundacional, crítica del museo'
curated by first graduating students in the Curatorial Programme of
UNAM's Art History degree, which included Mariana Castillo Deball's
piece '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), presented in 2007 in the Latitudes'-curated exhibition 'Extraordinary Rendition'. The piece revisits 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. 
Our final stop was Proyectos Monclova, which has relocated to a new and much larger space in Colima 55 (Col. Roma) with a solo show of architect Eduardo Terrazas (best known for his graphic design for Mexico's 1968 olympics realised in collaboration with Lance Wyman and Manuel Villazón.) Terrazas was concurrently exhibiting some works at the Casa Luis Barragán. The final gallery space was screening a fantastic slideshow with the 1968 work "Imagen México" accompanied with a soundtrack of 1969 songs. The exhibition finished on 29 September. See video of the opening here (via Vernissage TV) and a recent newspaper article.
Façade of the gallery.
Central gallery space.
Some of Terraza's works on view in the central space.
1970-1972 works on view in the back gallery space.
Showroom nearby the gallery offices.
On Saturday 29th there was a tour (Ruta de Galerias, see video by Vernissage TV) around San Miguel Chapultepec and Tacubaya art spaces (participants included: Archivo Diseño y Arquitectura, Casa Luis Barragán, Central Art Projects, Galería de Arte Mexicano, Gallé Antigüedades, Jan Mot, kurimanzutto, Labor, Estacionamientos San Miguel Chapultepec, and Fundación Alumnos47). We started the day at the Museo de Arte Moderno, with a launch of the publication "History of the World" and in conversation between L.A.-born Guadalajara-based artist Eduardo Sarabia and Patrick Charpenel, collector and director of the Colección Jumex.
The tour was followed by a quick burger lunch at Café Zena in the corner of Gob. Potasio Pérez de Tagle and Antonio de León.
...and then back to kurimanzutto, where Arto Lindsay was having a conversation with Carlos Icaza, discussing a selection of his books and CDs, talking about the changes in music technology and supports (from vinyl to CDs), mexican, brazilian and japanese musicians.
On our final evening in Mexico City we went to Sala Arte Público Siqueiros, where cuban artist Wilfredo Prieto celebrated the beginning his 45-day project "Dejándole algo a la suerte" (Leaving something to chance, until 12 November). For the duration of the exhibition Prieto occupies the upper gallery of the SAPS which has been turned into a studio from where he develops and conceptualises works to be presented on a daily basis on the lower gallery space (see here for those who have already taken place). On October 4th, the (non) opening day, the project began with 'Dos Tiempos': the encounter of a hare (named Raúl) and a terapin (Anastasia).
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Conferencia dentro del ciclo "Oficios de la cultura", Aula Cultura OBS Caja Mediterráneo, c/ Salzillo 7, Murcia, 17 de octubre, 20h. Entrada gratuita.
Mon, Oct 15 2012
Publicación del ciclo expositivo 'Amikejo' (Mousse Publishing, 2012).
Mariana Cánepa Luna de Latitudes discutirá el rol del comisario a partir de tres proyectos recientes de Latitudes. Estos casos de estudio trazan enfoques de índole editorial (The Last Newspaper, New Museum, Nueva York (2010)); como organización participante (las dos ediciones del festival No Soul for Sale: A Festival of Independents en X Initiative, Nueva York (2009) y en Tate Modern (2010)); y en un ciclo expositivo anual ('Amikejo', MUSAC, León (2011)).
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
The Last Newspaper exhibition catalogue, New Museum, New York, 2010–11.
Lecture within the cycle "Cultural Professions", Aula de Cultura Caja Mediterráneo, Murcia, 17 October, 20h. Free.
Mariana Cánepa Luna of Latitudes will discuss the role of the curator in the context of three of Latitudes' recent projects. These case studies trace Latitudes' approach in an editorial context (The Last Newspaper, New Museum, New York (2010)); a year-long exhibition series ('Amikejo', MUSAC, León (2011)) and as an invited organisation (the two editions of No Soul for Sale: A Festival of Independents in X Initiative, New York (2009) and Tate Modern (2010)).
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
All photos: Latitudes | www.lttds.org
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Entrevista a Ethel Baraona Pohl, segunda en la serie #OpenCurating, beca de investigación BCN Producció 2012
Mon, Oct 8 2012
Retrato de Ethel Baraona Pohl. Foto: Marcelo Isarrualde.
"Alguien dijo 'Adhocracia'?" es la segunda entrevista de la serie #OpenCurating (leer la primera entrevista 'Beyond Interface' aquí). En esta ocasión Latitudes entrevista a Ethel Baraona Pohl, arquitecta, co-fundadora de la editorial dpr-barcelona y blogera afincada en Barcelona, y actual miembro del equipo curatorial de 'Adhocracy', exposición de la primera Istanbul Design Biennial, que inaugura el próximo 13 de octubre.
Ethel Baraona Pohl desarrolla su trabajo profesional vinculada a varias
publicaciones de arquitectura y diseño. Colabora en blogs y revistas,
entre los que se incluye Domus, Quaderns y MAS Context, entre otros. Ha
sido invitada a presentar su trabajo en eventos como Postópolis! DF y el
festival internacional de arquitectura Eme3. Co-fundadora de la
editorial independiente dpr-barcelona junto con César Reyes Nájera, sus
proyectos, digitales e impresos, subvierten los límites de las
publicaciones convencionales, acercándose a aquellos que son
probablemente los títulos de la arquitectura y el diseño en el futuro.
–
ACERCA DE #OPENCURATING
Partiendo de las preocupaciones exploradas por Latitudes durante el proyecto editorial realizado durante 'The Last Newspaper' (New Museum, Nueva York, 2010), y basándose en las prácticas emergentes del denominado 'periodismo abierto' (Open Journalism) – que trata de mejorar la colaboración y utilizar la habilidad de cualquier persona para publicar y compartir – #OpenCurating es un proyecto de investigación que indaga cómo los proyectos de arte contemporáneo pueden funcionar más allá del tradicional formato 'exposición y catálogo'. #OpenCurating se enfoca en las nuevas formas de interacción entre los públicos – sean seguidores en red o visitantes físicos – con obras de arte, su producción, exhibición y su contexto discursivo.
El proyecto se estructura a partir de tres elementos: una serie de diez entrevistas a comisarios, artistas, periodistas y expertos online publicada en una edición digital gratuita, una discusión en Twitter moderada por el hashtag #OpenCurating y por último, un evento que tendrá lugar en Barcelona (fecha por determinar).
#OpenCurating es el proyecto ganador de la primera convocatoria BCN Producció 2012 en la categoría de investigación, otorgada por el Institut de Cultura de Barcelona.
Síguenos en Twitter: #OpenCurating
Content partner: Walker Art Center
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Inauguración de 'Incidentes de viaje' & 'Proyectos 2005–2012' en La Sucursal, Casa del Lago, México DF, 27 de septiembre 19:30h
Tue, Sep 25 2012
Alongside 'Projects 2005–2012' – a visual index of the thirty projects of Latitudes realized since 2005 – Latitudes has originated 'Incidents of Travel' from its temporary office in Casa del Lago's La Sucursal. Artists Minerva Cuevas, Tania Pérez Córdova, Jerónimo Hagerman, Diego Berruecos, and Terence Gower have been invited to 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.
Minerva observing the murals by Marion Greenwood at the Mercado Abelardo L. Rodríguez.
View from Minerva's studio roof (Torre Latinoamericana on the horizon).
Browsing the 'Mexican Art Section' at a bookstore on Calle Donceles.
The route proposed by Minerva Cuevas focused on the concept of the public and its socio-economic associations. The tour began in the Plaza de las Tres Culturas in Tlatelolco, continued to the Tepito and Lagunilla neighbourhoods, and from there visited nearby markets, public squares in the historic centre of Mexico City. It concluded with a visit to the Torre Latinoamericana, a symbol of modernity of the city in the 1950s. Throughout the course of the journey, rural elements that constitutes an integral part of the city are highlighted.
Exploring Insurgentes with Tania Pérez Córdova and photographer Eunice Adorno.
Browsing Av. Insurgentes's lottery stands, copy & pawn shops, wedding outlets, tacos stands...
View of nearly collapsing 19 floor "Canadá" building on Av. Insurgentes.
The tour proposed by Tania Pérez Córdova traced the route of a stretch of Avenida de los Insurgentes – the longest avenue of Mexico City which extends from the Mexico-Pachuca to the Mexico-Cuernavaca highways. The tour focused on certain points up and down this thoroughfare, becoming a mental journey with the daily commute of the artist as its starting point.
Av. Universidad 1601. When Miguel de la Madrid left the Mexican Presidency in 1988, this apartment block was fitted with angled concrete blinds in order to block residents' views of his garden and house across the road.
Tacos of maciza (like pulled pork) and chicharrón (fried pork rind) made by Don Tomás at El Venadito, Avenida Universidad near the corner of Miguel Angel de Quevedo.
Murals and canvases on "Freud, the revolution and its elements" by Vlady at the Biblioteca Nacional Lerdo de Tejada. The library gathers the archive of the Secretaria de Hacienda y Crédito Público. Its collection is one of the most important archives in Latin America dating from the 18th Century onwards and focusing on economics.
Diego Berruecos's tour encompassed several points in the city where he found the raw material for his ongoing investigation PRI: Genealogy of a Party. The itinerary takes in the Hemeroteca of the UNAM, where he photocopied obituaries relating to the 2007 sudden death Monica Pretelini, wife of the then governor of the State of Mexico, Enrique Peña Nieto. From there, brunch was enjoyed at El Venadito, which, according to the artist, "serves the best carnitas tacos in the city". This is a regular spot for the artist and is next to a major building in his research, which inspired one of the most interesting branches of his artistic genealogy: the series 'Architecture of Power'. This building is located in front of the home of the recently deceased Miguel de la Madrid Hurtado, 52nd president of Mexico. Finally, a visit to the Biblioteca Miguel Lerdo de Tejada and the Library of Congress, and end at El Sella restaurant "which serves the best chamorro in the city".
Estación de metro La Raza - Túnel de las ciencias: a metro transfer turned into an educational experience.
Unidad
Habitacional el Rosario: a 1972 condominium with its characteristic
cube-shapped 'zotehuelas' (windowless cantilevered kitchen patios).
Torres
de Satélite - a 1958 collaboration between architect Luis Barragán and
sculptor Mathias Goeritz in Ciudad Satélite, northern part of Naucalpan,
Mexico City.
Terence Gower's
tour, 'Urban Models (Zacatenco to Tlalnepantla)' looked at universalist
urbanism models in the northern sectors of Mexico City. The tour started
at the 1963 campus of the Instituto Politécnico Nacional,
an expression of order and building technology that perhaps hadn't
quite arrived in Mexico at the time of its construction. The tour next
visited two housing complexes: Unidad Habitacional El Rosario
was from the post-war building boom that produced complexes like
Tlatelolco, employing the urbanistic principals of density and land-use
of Le Corbusier and the Athens Charter. The second, the Unidad Habitacional de San Buenaventura,
is a recent "cookie-cutter" style private development in which
identical houses are built in rows that blanket the landscape. Similar
to the Politécnico scheme, these recent developments are attempts at
imposing order on the chaos of Mexico City. Finally the tour visits
Satélite, a low-density suburban-US style development that has generated
its own unique culture. Lunch was at Solo Veracruz es Bello, and concluded with a visit to Metro La Raza.
Jerónimo Hagerman's
visit delved into some situations, phenomena or cases in which he finds
a particular, intense and emotional relationship between Mexico City,
its inhabitants, with the outdoors, the wilderness and the nonhuman
nature. The tour visited public and private spaces of different kinds,
starting with the house-studio of architect Luis Barragán, followed by a tree invaded by ivy in colonia Polanco, the Espacio Escultórico of the UNAM, and a food tour around the chinampas (artificial islands) in Xochimilco. The day ended with a drink at Bellini, the WTC revolving restaurant which offers panoramic views of the city and a night visit to the Mercado de Jamaica.
"Copa de oro" and ivy in Casa Barragán, México.
Colourful
trajineras in Xochimilco take tourists and city residents alongside the
170km canals and chinampas (artificial islands, a vestige of
Xochimilco's pre-Hispanic past).
Black lava flow, lush greenery, concrete and red crushed tezontle at the incredible Espacio Escultórico at the UNAM. A 1978-1980 collaborative work by Federico Silva, Mathias Goeritz, Helen Escobedo, Manuel Felguérez, Hersúa y Sebastián.
All photos: Latitudes | www.lttds.org
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
'Projects 2005–2012 / Incidents of Travel', La Sucursal, Casa del Lago, Mexico D.F., México, 27 September–5 November 2012
Mon, Sep 17 2012
Casa del Lago. Photo: Fabiola Iza
| UK |
Opening: Thursday 27 September, 19.30h
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.
Casa del Lago. Photo: Fabiola Iza| ES |
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.
+ info
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
'Beyond Interface', first interview of the #OpenCurating series, BCN Producció 2012 research grant, 2012
Mon, Sep 3 2012
Photo: Courtesy Walker Art Center, Minneapolis.
#OpenCurating interview with Robin Dowden, Nate Solas and Paul Schmelzer from the Walker Art Center, Minneapolis.
Robin Dowden (Director of New Media Initiatives), Nate Solas (Senior New Media Developer) and Paul Schmelzer (Web Editor), discuss the museum's new website – walkerart.org – relaunched in December 2011 following a two-year conceptual reboot and complete redesign. Styled as an online newspaper, the new site heralds a paradigmatic shift for innovative museum websites in creating an online platform with an emphasis on publishing while placing itself at the centre of generating conversations around content from both inside and outside the Walker’s activities.
–
ABOUT #OPENCURATING
Drawing on the emerging practices of so-called 'Open Journalism' – which seek to better collaborate with and use the ability of anyone to publish and share – #OpenCurating is a research project that investigates how contemporary art projects may function beyond the traditional format of exhibition-and-catalogue. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context.
The project is articulated around a series of ten new interviews with curators, artists, journalists and online strategists published as a free digital edition, a Twitter discussion moderated around the hashtag #OpenCurating and a finissage event in Barcelona (date TBA).
#OpenCurating was awarded the first BCN Producció 2012 Research Grant of the Institut de Cultura de Barcelona.
Content partners: Walker Art Center
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Latitudes to facilitate the Nature Addicts Fund Travelling Academy, 11–15 September 2012, organised within the Maybe Education and Public Programs of dOCUMENTA (13), Kassel
Mon, Sep 3 2012
Photo: Latitudes
Fifteen European artists have been selected by the fund to discuss their work, participate in performances and guided tours by dOCUMENTA (13) artists Maria Thereza Alves, Toril Johannessen and Claire Pentecost, and attend the two-day conference On Seeds and Multispecies Intra-Action: Disowning Life on September 10 and September 15, organised within the Maybe Education and Public Programs of dOCUMENTA (13).
The artists participating in this iteration of the Nature Addicts Fund Travelling Academy are (in alphabetical order): Ackroyd/Harvey, UK; Geir Backe Altern, N; Linus Ersson, SW; Aurélien Gamboni, FR/CH; Fernando Garcia Dory, ES; Mustafa Kaplan, TU; Zissis Kotionis, GR; Julia Mandle, USA/NL; Clare Patey, UK; Erik Samakh, FR; Asa Sonjasdotter, SW/D; Elisa Strinna, IT; Mette Ingvarsten, DK.
Latitudes ha sido invitada a facilitar los encuentros de la primera Nature Addict Fund Traveling Academy que tendrá lugar entre el 11 y 15 de septiembre 2012, coincidiendo con la clausura de dOCUMENTA (13) en Kassel.
Friedrichsplatz, Kassel. Photo: Latitudes.
[Español]Latitudes ha sido invitada a facilitar los encuentros de la primera Nature Addict Fund Traveling Academy que tendrá lugar entre el 11 y 15 de septiembre 2012, coincidiendo con la clausura de dOCUMENTA (13) en Kassel.
Quince artistas han sido seleccionados por la fundación para presentar su trabajo, participar en performances y visitas guiadas por las artistas participantes en dOCUMENTA (13) Maria Thereza Alves, Toril Johannessen y Claire Pentecost, así como asistir a los dos días de la conferencia On Seeds and Multispecies Intra-Action: Disowning Life que tendrá lugar el 10 septiembre y 15 septiembre, organizada por el Maybe Education and Public Programs de dOCUMENTA (13).
Lxs artistas participantes en esta edición de la Nature Addicts Fund Travelling Academy son (en orden alfabético): Ackroyd/Harvey, UK; Geir Backe Altern, N; Linus Ersson, SW; Aurélien Gamboni, FR/CH; Fernando Garcia Dory, ES; Mustafa Kaplan, TU; Zissis Kotionis, GR; Julia Mandle, USA/NL; Clare Patey, UK; Erik Samakh, FR; Asa Sonjasdotter, SW/D; Elisa Strinna, IT; Mette Ingvarsten, DK.
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All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Latitudes participates in the "Readers Circle: 100 Notes–100 Thoughts" programme organised by the Maybe Education and Public Programs of dOCUMENTA (13)
Fri, Aug 31 2012
| UK |
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.
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) artists and Latitudes
Fri, Aug 24 2012
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).
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.
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).
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| 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.
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| 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.
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| '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. Photo: Latitudes.
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.
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| 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.
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| Haegue Yang on the cover of 'The Last Star-Ledger' as part of 'The Last Newspaper', New Museum, New York, 2010. Photo: Latitudes |
Ines Schaber, Picture Mining. In The Last Newspaper's The Last Gazette, 2010. Photo: Joel Stillman.
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.
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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.
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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.