Fri, Jun 16 2017
Julius von Schoppe (1795–1868), Illustration of giant stone near the
Rauenschen Mountains near Furstenwalde, 1827, Lithograph, von Tempeltey.
Between September 11 and October 6, 2017, ten artists, researchers, writers and curators from around the world will ponder geological formations and stratigraphy,
minerals, and resource extraction to speculate about a more expansive,
slower and longer-term view of art, exhibitions, and institutions. The spectacular Rocky Mountains will not only be the backdrop, but the active participants.
Through fieldwork, seminars, and independent study, 'Geologic Time' participants will be “thinking with” geology (beyond the depiction of landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art.
Lead faculty: Latitudes
Guest Faculty: Sean Lynch
"Geologic Time" is a thematic residency programme of the Banff International Curatorial Institute, Visual + Digital Arts organised by the Banff Centre for Art and Creativity in Alberta, Canada. Within the framework of the residency Latitudes curated the group exhibition "4.543 billion. The matter of matter" at the CAPC musée d’art contemporain de Bordeaux, France, on view until January 7, 2018.
View of the Banff Centre campus. Photo: Latitudes.
RELATED CONTENT:
- "4.543 billion. The matter of matter" in pictures.
- Guest Faculty of the Thematic Residency 'Blueprint for Happiness' at The Banff Centre, Canada, 27 July–8 August 2015 16 July 2015
- Cover Story – April 2017: Banff Geologic Time 3 April 2017
- Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook 5 December 2016
- Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
- Second research trip to Bordeaux 16 July 2016
2017, 4543 billion, CAPC Bordeaux, Curatorial Practice, curatorial writing, deep time, Faculty, fieldwork, research, residency, Sean Lynch, seminar, The Banff Center, Workshop
Tue, May 30 2017
Xavier
Ribas, Chilean Nitrate publicity postcard, c. 1920 from "A History of
Detonations", 2013. Courtesy the artist and ProjecteSD, Barcelona; and
Lucas Ihlein, "Under Ground", 2010. Courtesy of the artist.
SAVE THE DATE
Exhibition ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain de Bordeaux, June 29, 2017–January 7, 2018.
Opening: June 29, 2017 (6 pm)
With: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.
Curated by Latitudes
With contributions from more than 30 artists, “4.543 billion. The matter of matter” is a major exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.
A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. “4.543 billion” attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
Collections are accumulations of real physical matter in time as well as of ideas, decisions, fashions, knowledge, and use. Likewise minerals and organic matter might be regarded as both cultural evidence and archival storage media. This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility.
Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Marianne Heier’s contribution, for example, documents a project addressing the decisive roll North Sea oil has played in shaping art and culture in Norway. Rayyane Tabet’s works deal sculpturally with the legacy of the Trans-Arabian Pipe Line, a joint venture by three American oil companies that came together in 1946 to construct an pipeline from Saudi Arabia to the Mediterranean. Incorporating a fragment of Breccia Pernice marble from the lobby of Trump Tower, Dynasty (2017) by Amie Siegel weaves Italian geology into the political turmoil of the present.
Several of the more documentary projects on display (including those by Alessandro Balteo Yazbeck and Terence Gower) trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels (a subject addressed by Alexandra Navratil), or the services and substances entailed in buildings that display art (as seen through the work of Lucas Ihlein and Lara Almarcegui).
In addition to two new projects in development for the occasion (by Christina Hemauer & Roman Keller and Ilana Halperin), the exhibition will include many works kindly lent by the artists and international galleries, as well as those from the CAPC collection and its archives. Loans from Bordeaux institutions include those from the Archives Bordeaux Métropole, the Archives départementales de la Gironde, the Musée des Beaux-Arts, the Musée d’Aquitaine and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.
Located at opposite ends of the galleries will be two imposing works that bookend the exhibition conceptually as well as physically. Originally made for CAPC in 1985, Jannis Kounellis’s nine-metre-long Sans titre is a slab of steel draped with coffee sacks that spits flames. On the other side, Ancient Lights (2015) is a two-screen video installation by Nicholas Mangan that is powered by an off-grid solar system with panels on the roof of the CAPC building. With sections filmed at the Laboratory of Tree-Ring Research, University of Arizona, and a salt-storage solar plant near Seville, Mangan’s looped videos speculates on the ideology and politics of energy.
Several works by Ângela Ferreira also link diverse histories: those of the Cullinan Diamond Mine in South Africa, the source of one of the largest gems ever found, and the Chislehurst Caves in South East London, a crucible of counter-culture in the 1960s. In terms of an exploration of the underground – in this case with a sociological dimension – one could also mention All surface expectations disappear with depth (2010) a three-screen video work by Fiona Marron that juxtaposes text from a 1954 field report on working conditions in an American gypsum mine with footage from present-day excavation in Ireland.
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‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017. Within the exhibition framework, Latitudes will lead the month-long residency programme ‘Geologic Time’ at Banff Centre for Arts and Creativity, Alberta, Canada, in September–October 2017.
RELATED CONTENT:
2017, 2018, 4543 billion, Bordeaux, CAPC Bordeaux, Ecology, Exhibition, Lucas Ihlein, research, save the date, Xavier Ribas
Thu, May 25 2017
Fotos de Pep Herrero para Barcelona Producció/La Capella.
Después de una intensísima semana de lectura de las 230 solicitudes recibidas, otra semana de debate entre los miembros del jurado y una tercera semana entrevistando a los 31 candidatos pre-seleccionados, el jurado de la temporada 2017–2018 de Barcelona Producció formado por David Armengol, Alexandra Laudo, Mónica Bello, Joan Caselles, Mireia Sallarès y Latitudes junto a Oriol Gual, director de La Capella (con voz, sin voto), ha decidido seleccionar los siguientes 17 proyectos para su producción y presentación a lo largo de la temporada:
Sala Grande – Exposición individual
- "Synthesis" de David Mutiloa
- "Talk trouble" de Claudia Pagès
- "El Gafe i la Revolució" de Dani Montlleó
Sala pequeña – Exposición individual
- "Remover con una vara de madera" de Matteo Guidi
- "ARTENGO2000" de Camille Orny y Magda Vaz
- "SSSSSSSilex" de Paco Chanivet
Sala Gran – Comisariado
- "A break can be what we are aiming for" de Irina Mutt
Sala pequeña – Comisariado
(Modalidad desierta)
Proyectos deslocalizados
- "Són els microorganismes els que tindran l’última paraula" de la Associació Cultural Nyamnyam
- "En frontera" de Marco Noris
Investigación
- "El Peso de mis Vecinas - La Poesía y el Cante como Dispositivos Estratégicos" de Christina Schultz
- "El mal alumne. Pedagogia crítica per a intel·ligències artificials" de Taller Estampa
Publicación
- "The Drowned Giant" de Anna Moreno
Acción en vivo
- "Chroma" de Quim Pujol
- "The Reading Room #3 presenta: Aparatos del habla – Materialismo histórico" de Eliana Beltrán
- "Fine Cherry" de Victoria Macarte
Entornos digitales
- "Eixams" de Alex Muñoz
- "Notes on a novel (that I am not going to write), or the swimming pool, or the hair, the herb and the bread or the tomato plant" de Irene Solà
Latitudes tutorizará los proyectos de David Mutiloa (Sala Grande, 18 julio– 25 septiembre 2017), Anna Moreno (Proyecto de publicación, noviembre 2017) y Magda Vaz y Camille Orny (Sala pequeña, 23 enero–1 abril 2018).
La undécima convocatoria introduce varias novedades: se han doblado el número de categorías pasando de nueve a dieciocho y se suman tres nuevos tutores (las comisarias Alexandra Laudo y Mónica Bello, y el artista Joan Casellas). La otra novedad es que el "Espai Cub" desaparece para transformarse en una sala más amplia con paredes blancas de 4×8m situado a la entrada de La Capella ("sala pequeña").
Las nuevas líneas que se han introducido se destinan a la producción de un proyecto curatorial para la sala pequeña para formatos reducidos o de archivo (1 proyecto), edición de una publicación (1 proyecto), proyectos en entornos digitales (2 proyectos), proyectos en vivo (3 proyectos), y se ha recuperado la añorada beca de investigación (2 proyectos).
El calendario preliminar de exhibición será en siguiente:
18 de julio–25 de septiembre 2017
Sala Gran (individual 1) + Sala Petita (individual 1)
11 de octubre–7 de enero 2017
Sala Gran (individual 2) + Sala Petita (individual 2)
23 de enero 2017–1 de abril 2018
Sala Gran (individual 3) + Sala Petita (individual 3)
27 de abril–24 de junio 2018
Sala Gran (comisariado) + Sala Petita (comisariado)
Los proyectos deslocalizados, de edición, de acción en vivo, digitales y de investigación se producirán y presentarán a lo largo de la temporada.
Barcelona producció es una convocatoria anual dirigida a la comunidad artística de Barcelona y su área de influencia. Es una iniciativa del Institut de Cultura de Barcelona (ICUB) del Ajuntament de Barcelona.
2017, Barcelona, Barcelona Producció, BCN Producció, beca producción, emerging artists, exhibition-making, grant, Jurado, tutoría
Tue, Apr 18 2017
Miércoles 3 de mayo, 19:30h.
Actividad gratuita. Aforo limitado.
Reservas: activitats@ftapies.com
c/ Aragó 255, 08007 Barcelona
El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?
Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo.
Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.
Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.
Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol.
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(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.
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Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.
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| Cover of The Last Star-Ledger, issue 4 of 10 edited by Latitudes during ‘The Last Newspaper’ exhibition at the New Museum, New York, 2010. |
Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013.
Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.
'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.
CONTENIDO RELACIONADO:
- Latitudes' limited edition tote bags presented in the Asia Art Archive's exhibition "A short history of the art book bag (and the things that go in them)" 24 August 2015;
- Limited Edition Tote Bags Commemorating Latitudes' 10th Anniversary 25 May 2015;
- Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich 11 November 2012;
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012;
- 'THE LAST STAR-LEDGER' AVAILABLE NOW! #4 issue of the 10 Latitudes-edited newspapers for 'The Last, Newspaper' exhibition, New Museum 27 October 2010;
- Haegue Yang's 'Symmetric Inequality' (Desigualdad simétrica) exhibition catalogue, sala rekalde, Bilbao 17 December 2009;
- Catalogue essays: Henrik Håkansson, Museo Rufino Tamayo; Haegue Yang, Artsonje Center / samuso 29 septiembre 2009;
- Installation shots of 'Sequelism...', Arnolfini, Bristol on Latitudes' website 21 July 2009;
- Sequelism Part 3... images of the installation in progress 15 July 2009;
- Haegue Yang at Sala Rekalde & 2009 Korean Pavilion Venice Biennale 25 December 2008.
2017, artist talk, Barcelona, conversations, Fundació Tàpies, haegue yang, Han Nefkens, latitudes, talks programme
