Residency: Askeaton Contemporary Arts, County Limerick, Ireland, 20–29 July 2018
Mon, Jul 30 2018
The annual residency programme ‘Welcome to the Neighbourhood’ curated by Askeaton Contemporary Art's director Michele Horrigan has situated Irish and international artists in the midst of Askeaton, a small town in County Limerick since its conception in 2006. Over one hundred artist's projects have been realised in public spaces throughout the town, bringing forward layers of daily life and creating a rich framework for encounters.
In its thirteenth year, the 2018 edition of ‘Welcome to the Neighbourhood’ invited artists Matt Calderwood, Jonny Lyons, Ruth Clinton and Niamh Moriarty, and curators Gareth Bell-Jones (Flat Time House, London) and Latitudes.
Latitudes arrived at Askeaton on the 20th, following a short stint in Dublin's The LAB Gallery where they participated in a closed-door seminar in the context of the exhibition ‘I Slept Like A Stone’ curated by Sheena Barrett and Julia Moustacchi.
Banqueting Hall next to Desmond Castle is also under restoration.
Tour by the OPW workers restoring Desmond Castle.
"Glasgow-based artist Jonny Lyons debuts a new installation, Joyride, at Askeaton Community Hall. Impressed by the rhythm and assured style of card playing he encountered in Askeaton, his artwork was realised in collaboration with local card sharks William Sheehan, James and Antoinette Fitzgerald, and Noel McCarthy. Surreally they appeared unannounced early one morning at high tide in the middle of the River Deel, playing the trick-taking card game of forty-fives that originated in Ireland on a specially constructed pontoon." [Text by Askeaton Contemporary Arts]
“Dublin and Sligo-based artists Ruth Clinton and Niamh Moriarty are known for their intense sensitivity to microhistories and the local. In recent days they have uncovered the story of Hollywood star Kiefer Sutherland’s visit to Askeaton, soon after being dumped by Julia Roberts days before their planned wedding in 1990. A 24-year-old Sutherland ended up in the west of Ireland where, in his own words, he was going to “try have a drink in every town I passed through.” Clinton and Moriarty’s artwork acts as a form of fan fiction, a stream of consciousness spread throughout the rooms of Cagney’s Bar and Ranahan’s Pub. A lino print and video accompany a photograph of Sutherland partying in Askeaton, while the artists perform an intimate scripted theatrical performance in the snug of Ranahan’s at 3.15pm and 5pm respectively.” [Text by Askeaton Contemporary Arts]
It's been grand!
RELATED CONTENT:
The programme began on July 14 and wrapped up on July 28th with an Open Day where the artists-in-residence unveiled the works they had produced.
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| 2018 programme. |
"Many public events have occurred during Welcome to the Neighbourhood, each introducing new perspectives to the role and purpose of contemporary art and knowledge production in the Limerick region. Public talks by Gareth Bell-Jones (Flat Time House, London), Latitudes, Patrick Comerford and Karin Dubsky (Coastwatch Europe) explored topics from contemporary curating practice to El Greco and marine ecology. Carl Doran’s ongoing collaborative work with Askeaton Castle’s conservation theme was showcased, while Anthony Sheehy led tours of Askeaton’s medieval heritage." [Text by Askeaton Contemporary Arts]
Artist and "Welcome to the neighbourhood" mastermind curator Michele Horrigan in Desmond Castle.
Artist Sean Lynch talking about the previous editions of "Welcome to the neighbourhood".
Sunday BBQ with ACA family. Rory Prout (left) and 2018 "Welcome to the neighbourhood" artist Matt Calderwood (right).
Local guide Anthony Sheehy has led tours around Askeaton since 1964.
(Above and below) Visiting the RUSAL Aughinish alumina plant near Askeaton.
Picnic site on our way to Lismore Castle.
2018 "Welcome to the neighbourhood" artist Niamh Moriarty and ACA Assistant Curator, Jessica Kelly.
(Above and below) Visiting Lismore castle’s impressive gardens.
Detail of Stuart Whipps's work included in "The Expanded Field" exhibition co-curated by Lismore Castle Arts and Askeaton Contemporary Arts at the St Carthage Hall, Lismore, which also presents work by The Center for Land Use Interpretation, Olivia Plender, The Domestic Godless, Superfolk and Filip Van Dingenen.
(Above and below) The Grange Stone circle, the largest stone circle in Ireland, was built by the Bronze Age people who lived around Lough Gur in 2100 BC.
Enchanting studio visit with local legend and stick-maker Seanie Barron.
View of Desmond Castle from the top floor of the Civic Trust.
As we later learn, these two rectangular columns in Askeaton's Friary contained a much-hunted treasure. It became the spur for Latitudes' research in the links between Barcelona and Askeaton. To be continued...
In "The Pilgrim", Latitudes reprised a 1984 article written by Tim Kelly in the back issues of The ABC News, Askeaton’s annual journal. Made available online and through social media platforms, an excerpt was heard at the Franciscan friary, of a dramatic narrative bringing to life a cryptic inscription found in the cloister there that reads "Beneath lies the Pilgrim's body, who died January 17, 1784". The story is read aloud by artist Carl Doran. The tale involves an Italian, a Spaniard, and a morbid blood hunt that links Barcelona with Askeaton.
Hear more at https://soundcloud.com/lttds/the-pilgrim
Cloister in the Franciscan friary.
Ray Griffin's magic hands fabricating Matt Calderwood's boat.
Matt's first rehearsal, testing the oars on the River Deel.
Ray and Matt carrying the boulder to the water.
"London-based artist Matt Calderwood’s installation Erractic (Approximately 4.5 Tonnes) can be seen floating on the River Deel. With a healthy interest in what the artist describes as the “non-expert production of things”, Calderwood without any prior experience, guidance or clear blueprints, constructed his own boat, and vigorously rowed it up and down the Deel. On Open Day, it is seen on the river with what appears to be an enormous rock inside it. The longer you look at this apparition, the more uncomfortable its appearance becomes as if the boat and stone were a tangential echo or parallel universe of the stone buildings and maritime traditions of the region. In addition, a series of large-scale prints detail a selection of Askeaton stones, some real, some not, seen in various locations throughout the town." [Text by Askeaton Contemporary Arts]
Matt floatin’ out on the River Deel. He sails off accompanied by two show-dog Rottweilers (they are not part of the work!).
Matt Calderwood and rock on the River Deel in front of Askeaton's 14th Century Franciscan Friary.
(Making of) Jonny Lyons’s "Joyride" during the morning high tide at the River Deel.
Players signing two joker cards.
On Saturday 28 July, the Open Day, over 50 guests joined the tour which took off from Askeaton's Civic Trust.
Matt Calderwood's boat made a new apparition upstream for the Open Day.
Calderwood displayed some large prints at a former hair salon. Below Calderwood discusses his work with Sean Lynch.
Jonny Lyons's new installation, Joyride, at Askeaton Community Hall. Featured in Latitudes' August 2018 Monthly Cover Story (after August it will be archived here).
A paparazzi moment with the artist and the card players. Below Lyons's installation presents the table borrowed from Ranahan's pub on the pontoon, alongside a fresh Guinness pint, two signed joker cards and the 7 of hearts – the card that blew away during the making of.
Ruth and Niamh reenact the small photograph on the upper left which can be found at Cagney’s Bar – featuring two local women aside from a broken-hearted Kiefer Sutherland (here brought to life by artist Jonny Lyons).
It's been grand!
RELATED CONTENT:
- Residents, ‘Welcome to the Neighbourhood’, Askeaton Contemporary Arts, Askeaton, Ireland, 20–29 July 2018.
- Research residency, CAPC musée d’art contemporain de Bordeaux, April–May 2016.
- Residency, Kadist Art Foundation, San Francisco, 26 August–9 September 2015.
- Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014.
- Residency, Spring Workshop, Hong Kong. Invited by Heman Chong and Defne Ayas in the context of the year-long programme Moderation(s) between Witte de With (Rotterdam) and Spring Workshop (Hong Kong), 7 January–10 February 2013.
- Deutsche Börse Residency Programme, Frankfurter Kunstverein, Frankfurt. Invited by Chus Martínez, August 2008.
Cover Story–July 2018: No Burgers for Sale
Mon, Jul 2 2018
The July 2018 Monthly Cover Story "No Burgers for Sale" is now up on Latitudes' homepage: www.lttds.org
"In 1983, a Burger King opened on New York’s Governors Island, then a U.S. Coast Guard base. It was the first franchise to serve beer. After scoffing a Whopper combo, officers and enlisted men could enjoy a round of golf, play bingo, go to the movies, or throw balls at the adjacent bowling alley. In 1999, this Burger King featured in issue 615 of ‘The Amazing Spider-man’. After almost two centuries operating as a federal or military facility, the Island was vacated in 1996, and the Burger King shut up shop. The remnants were photographed in 2003 by Andrew Moore and Lisa Kereszi."
No burgers were on sale though, just wooden pretzels!
—> Continue reading
—> Project photo documentation
—> After July 2018 it will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group 4 June 2018
- Cover Story – May 2018: "Shadowing Roman Ondák" 7 May 2018
- Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
- Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
- Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
- Cover Story – January 2018: I'll be there for you, 2 January 2018
- Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
- Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
- Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
- Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
- Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
- Cover Story – July 2017: 4.543 billion 3 July 2017
- Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
- Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
- Cover Story – April 2017: Banff Geologic Time 3 April 2017
- Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
Seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania
Thu, Jun 28 2018 |
| http://incidents.kadist.org/hobart.html |
The seventh 'Incidents (of Travel)' dispatch comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. Lucy "shared her knowledge of volcanoes, lava, and magma leading (Camila) on a quest to relate local geochemical and geophysical conundrums to the expansive solar system."
They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home sharing their mutual love for quinces.
Each of the 19 photographs is augmented by one or more extra assets – a brief commentary, soundscape or a caption – accessed by clicking the words which overlay the images.
The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
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| http://incidents.kadist.org/chicago |
A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan.
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| http://incidents.kadist.org/jinja |
The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.
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| http://incidents.kadist.org/suzhou |
The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.
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| http://incidents.kadist.org/lisbon |
The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
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| http://incidents.kadist.org/terengganu |
The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."
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| http://incidents.kadist.org/terengganu |
RELATED CONTENT:
- The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia 1 March 2018
- The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia 26 April 2017
- The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal 2 March 2017
- The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China 6 September 2016
- Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda 30 June 2016
- Kadist and Latitudes present 'Incidents (Of Travel)' online 31 May 2016
- An Instagram takeover of Kadist Art Foundation in San Francisco (28 August 2015)
- Residency at the Kadist Art Foundation, San Francisco, 26 August–9 September 2015 (29 August 2015)
- Nadim Abbas' "Incidents of Travel: Hong Kong" public tour (19 January 2013)
- Ho Sin Tung "Incidents of Travel: Hong Kong" tour (30 January 2013)
- Yuk King Tan's "Incidents of Travel: Hong Kong" tour (3 February 2013)
- Samson Young's "Incidents of Travel: Hong Kong" tour (7 February 2013)
- Archive of social media posts related to "Incidents of Travel" tours and photo-documentation.
- 13 field recordings from 'Incidents of Travel: Hong Kong'
- Interview between Christina Li and Latitudes on 'Incidents of Travel' for Witte de With's 'Witness to Moderation(s)' blog, 7 May 2013
- Inauguración de 'Incidentes de viaje' & 'Proyectos 2005–2012' en La Sucursal, Casa del Lago, México DF, 27 de septiembre 19:30h, 25 septiembre 2012
Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna
Thu, Jun 21 2018 |
| Sean Lynch, Still from “A Blow by Blow Account of Stonecarving in Oxford” (2013–14). Slide projection with voiceover (19’), stone carving, rubble, photographs, museum artefacts, printed matter. Courtesy of the artist. |
Kraus thought that what he saw as the specifically Viennese development of dressing up Germanic culture with decorative elements imported from Romance culture was a bullshit ornamentation of the utilitarian.
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| Eulàlia Rovira and Adrian Schindler, ‘The Feet Fixed to the Ground Betray No Impatience’ (Els peus fixats al terra delatant cap impaciència) (2016), installation view at Fireplace, Barcelona. Courtesy the artists. |
Opening on September 13, 6–9pm, at Galerie Martin Janda in Vienna (and on view until October 14), the exhibition ‘Cream cheese and pretty ribbons!’ curated by Latitudes brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.
Given that Kraus conjures up a world of robust public debate, whether on the pages of newspapers or in the cafés, the exhibition space has been devised as a kind of uncanny street scene.
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| Façade of Galerie Martin Janda. Photo by Anna Konrath. |
+ info
#CreamCheeseAndPrettyRibbons
#CuratedbyVienna
RELATED CONTENT:
- David Bestué's installation "Luces" at Cosme Toda Factory, part of the Barcelona Gallery Weekend site-specific commissions programme Composiciones 2015 curated by Latitudes.
- Sean Lynch as Guest Faculty of Latitudes-led month-long seminar ‘Geologic Time’ at the Banff Centre, Canada.
- ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne’, Meessen De Clercq, Brussels, Belgium, 25 February–16 April 2011.
- ‘Provenances: Erick Beltrán, Simon Fujiwara and Jordi Mitjà’, Umberto di Marino Arte Contemporaneo, Naples, Italy, 14 May–14 September 2009.
- ‘The Garden of Forking Paths’, Maisterravalbuena, Madrid, Spain, 28 May–31 July 2009.
- ‘Extraordinary Rendition’, NoguerasBlanchard, Barcelona, Spain, 22 March–19 May 2007.
Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group
Mon, Jun 4 2018
"Sporadically convened by Latitudes, the Near-Future Artworlds Curatorial Disruption Foresight Group is a forum for informal dialogue about megatrends and the future of contemporary art institutions.
In order to be conducive to freedom of interaction, this by-invitation, closed-door meetings have been held under the Chatham House Rule. The list of attendees is not circulated beyond those participating in the meeting, and no documentation is made."
—> Continue reading
—> After June it will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Cover Story – May 2018: "Shadowing Roman Ondák" 7 May 2018
- Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
- Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
- Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
- Cover Story – January 2018: I'll be there for you, 2 January 2018
- Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
- Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
- Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
- Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
- Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
- Cover Story – July 2017: 4.543 billion 3 July 2017
- Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
- Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
Report: Trip to London and Oxford in pictures
Thu, May 31 2018
(Above and four below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
(Above and below) The magnificent main hall of the Pitt Rivers Museum in Oxford.
An example of Micronesian currency – we're reminded of our extended conversation with Melbourne-based artist Nicholas Mangan published in his 2016 Sternberg Press publication "Limits to growth" (and also during Chisenhale's live conversation and while chasing Ancient Lights).
(Above and below) These column capitals are the main reasons we visited Oxford. They were carved for the Oxford Museum of Natural History in 1859-60 by Irish brothers James and John O'Shea, along with their nephew Edward Whelan. Commissioned by John Ruskin, all the works were carved freestyle, without previous sketches, using only plant specimens from the botanical garden, and their sheer imagination, as references.
They are the protagonists of Sean Lynch's 2013 piece "A Blow by Blow Account of Stonecarving in Oxford", which we have been discussing with Sean for a while and finally saw in 2015 in Bordeaux. We continued learning more about this piece and its making during our joint adventure in Banff's "Geologic Time" residency programme last Fall.
(Above and 3 below) Leonor Antunes's "a thousand realities from an original mark" at Marian Goodman.
Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003).
(Above) Tacita Dean's "Landscape" exhibition premiered "Antigone", a new 1-hour long film and cloud paintings at The Royal Academy. Part 2 and 3 in the National Portrait Gallery (a retrospective of portrait films works) and at the National Gallery a two-room exhibition curated by the artist presents a selection of historical and contemporary still lives.
Fantastic assembly of square-format paintings by Markus Lüperz at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.
(Above and below) Batia Suter's work at The Photographers' Gallery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018.
Nicolas Lamas (above and immediately below) and Petra Feriancová (two following) two-person show "Becoming animal" at Tenderpixel.
(Above) "Pregnant Landscape" by Phoebe Unwin at Amanda Wilkinson Gallery in SoHo.
(Above and below) Wilhelm Sasnal at Sadie Coles.
(Above and below) August Sander's "Men without masks" at Hauser & Wirth included an extensive selection of rare large-scale photographs made between 1910 and 1931. The photographs were printed in a unique oversize format for inclusion in an exhibition at the Mannheimer Kunstverein in 1973.
(Above and detail below) Rose Wiley's "Lolita's House"three-floor solo show at David Zwirner.
(Above and below) 1960s vinyl sculptures by South Korean Seung-taek Lee at White Cube (Mayfair). Works have been recreated for the exhibition using urethane vinyl to achieve greater durability whilst retaining a similar visual quality.
(Above and below) Abigail Reynolds mid-career survey at Peer.
(Above) Visiting Ian White and Sadie Benning (photographed) at Camden Art Center with Antoni Hervàs.
(Above and 2 below) Last day to see Magali Reus solo show at South London Gallery.
(Above and below) Antoni Hervàs studio at Gasworks, his 3-month residency is supported by Acción Cultural Española (AC/E).
(Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
On the way to see Tacita Dean's-curated exhibition "STILL LIFE" at the National Gallery, a much-obliged stop in the room with Vermeer and Dutch still life. Jacob van Walscapelle (1644-1727) and Jan van Huysum (1682–1749) masters in flower painting.
(Above) English singer-songwriter, record producer and humanitarian Peter Gabriel during the internet interspecies symposium "The Shape of a Circle in the Mind of a Fish" curated by Lucia Pietroiusti and Filipa Ramos for the Serpentine Gallery at the London Zoo.
Not photographed but also visited: Chisenhale Gallery, Matt's Gallery, Spruth Magers, Blain Southern, Pilar Corrias, Frith Street Gallery (both locations), Hollybush Gardens, Josh Liley Gallery, Kate McGarry, Mother's Tankstation, Modern Art (unexpectedly closed when it should have been open!, and so was Project Native Informant – which had a broken lift so had to go up 3 flights of stairs).
RELATED CONTENT:
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018), also archived on Wakelet
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Report of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);
Photo report: Trip to Berlin Gallery Weekend 2018 and Cologne
Wed, May 9 2018
(Above) Detail from the K, inaugural show dedicated to exploring the work of East German designer and exhibition-maker Klaus Wittkugel. K, A Year with P. Krishnamurthy on Ebersstrasse 3 (Schöneberg) is a workshop for exhibition-making led by designer, curator, writer and educator Prem Krishnamurthy, co-director of the multidisciplinary design Wkshps, which extends his previous exhibition space and ‘mom-and-pop’ P! based in New York between 2012-2017. The project is organised in collaboration with KW Institute for Contemporary Art. All photos: Latitudes.
(Above and below) Claudia Comte's ‘When Dinosaurs Ruled the Earth’ at König Galerie's St Agnes, Berlin.
(Above) ‘ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS’ at the Julia Stoschek Collection.
(Above) Loris Gréaud at Max Hetzler.
(Above and below) Lawrence Weiner and Manfred Pernice in the old/new venue of Konrad Fischer Galerie, Berlin.
(Above and below) Nevin Aladağ's ‘Mustrop’ exhibition at Wentrup, Berlin.
(Above) Andro Wekua at Spruth Magers. The gallery concurrently presented exhibitions by Senga Nengudi and Kara Walker.
(Above and below) Views of the exhibition ‘Neolithic Childhood. Art in a False Present, c. 1930’ at Haus der Kulturen der Welt.
(Above and two below) View of ‘Hello World. Revising a Collection’ in the central nave Hamburger Bahnhof – Museum für Gegenwart, Berlin.
(Above and below) Becky Beasley's ‘Depressive Alcoholic Mother’ show at Galeria Plan B.
(Above and below) Haegue Yang's installation ‘Silo of Silence – Clicked Core’ in the Boiler House space at KINDL - Centre for Contemporary Art in Berlin’s Neukölln district.
Berlin skyline from KINDL's second floor.
(Above and below) ‘Defying Gravity’ exhibition by Swiss artists Taiyo Onorato and Nico Krebs occupying the two floors of the Maschinenhaus (Power House) at KINDL - Centre for Contemporary Art, gathering photographs, 16mm films, sculptures and new installations from the past decade.
4h train to Cologne. The 2017 edition of "KölnSkulptur #9" titled ‘La fin de Babylone’ added new works by Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar and Pedro Wirz to the existing collection; and was curated by Chus Martínez. Above and following seven photos.
(Above and below) ‘Pumping Station’ (2017) by Teresa Solar.
(Above) ‘The Nordic Cactuses’ (2017) by Claudia Comte.
(Above) Michael Sailstorfer (helicopter) and Mark di Suvero.
(Above) ‘Untitled’ (2017) by Solange Pessoa.
(Above and below) ‘Schale’ (2017) by Andrea Büttner.
(Above) ‘Pagliaccio non son’ (2011) by Jimmie Durham.
(Above) ‘Garten’ (1997–1999) by Peter Fischli and David Weiss.
(Above and below) View of ‘Games of Decentralized Life’ exhibition by Simon Denny at Galerie Buchholz, Cologne, around Bitcoin and other cryptocurrencies.
(Above and below) View of the exhibition ‘The Superman’ by Alex da Corte on view the at Kölnischer Kunstverein.
(Above) Beautiful 1950s architecture of the Kölnischer Kunstverein.
(Above and following) View of Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig in Cologne. In this room ‘Series of Vulnerable Arrangements’ are displayed alongside ‘Seven Basel Lights’ and ‘Medicine Men’.
(Above) ‘Mountains of Encounter’ and ‘Sol Lewitt Upside Down — K123456. Expanded 1078 Times. Doubled and Mirrored’.
(Above) Installation ‘5, Rue Saint-Benoît’.
(Above) View of the first solo exhibition ‘ DAS – IST — DAS?’ in Germany by Ana Jotta at Temporary Gallery, Cologne. Curated by Regina Barunke and Miguel Wandschneider.
RELATED CONTENT
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018) archived on Wakelet.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017. 18 April 2017.
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, (23–24 November 2016) and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016.
- 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;
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Photo report and Storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);
- 'Incidents of Travel' Hong Kong, 7 January–10 February 2013.
Cover Story–May 2018: "Shadowing Roman Ondák"
Mon, May 7 2018
This month we revisit Roman Ondák’s exhibition ‘Some Thing’ at The Common Guild, Glasgow, in 2013, during which Latitudes was invited to give a talk. Roman’s show comprised a series of composite works in display cases. Early still-life paintings and pencil drawings from his student days in Slovakia in the 1980s were coupled with the actual objects depicted – a chair, a length of rope, a helmet, a vase (a detail of "Shadow, 1981/2013" is the work above), and so on, which were placed in a deadpan way on top of them.
—> Continue reading
—> After May it will be archived here.
Cover Stories' are published every month on Latitudes' homepage featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to our curatorial activities.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Commentary text on Roman Ondák now available via The Common Guild' website 13 January 2014
- Report from Glasgow: Lecture at The Common Guild and studio and gallery visits 4 December 2013
- Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
- Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
- Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
- Cover Story – January 2018: I'll be there for you, 2 January 2018
Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze
Mon, Apr 9 2018 |
| Review ‘The Molecular Turn’: While Social Media Flourishes Ecological Systems are Collapsing. At La Panacée, Montpellier, Nicolas Bourriaud’s manifesto for a new movement and attempt to demarcate an artistic peer group." on frieze magazine. |
—> Video of Lúa Coderch presenting her work (Spanish with English subtitles).
| Review "The Girl with No Door on Her Mouth: Lúa Coderch's Acts of Making Noise. The artist explores the politics of the female voice that speaks out or is shut up, at àngels barcelona, Spain." on frieze magazine. |
—> Video of Julia Spínola presenting the show (in Spanish).
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RELATED CONTENT:
- Writing archive on Latitudes' website (since 2005);
- "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
- Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
- Cover Story – January 2017: How open are open calls?, 4 January 2017
- Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
- January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
- Symposium participation, "The Shock of Victory", Glasgow, 25 September 2015
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
- Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015
Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz
Tue, Apr 3 2018
The April 2018 monthly Cover Story "Dates, 700 BC to the present: Michael Rakowitz" is now up on Latitudes' homepage: www.lttds.org
"As Michael Rakowitz’s fourth plinth commission is unveiled in London’s Trafalgar Square, this month’s cover story image revisits Return (2004-ongoing) a related project by the artist that also speaks about the turbulent history of Iraq. And dates. In London, Michael has deployed thousands of date syrup cans to make a 1:1 scale recreation of Lamassu, the fantastic winged bull that graced the gates of the city of Nineveh from 700 BC until it was destroyed by Isis in 2015."
—> Continue reading
—> After April it will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
- Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
- Cover Story – January 2018: I'll be there for you, 2 January 2018
- Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
- Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
- Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
- Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
- Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
- Cover Story – July 2017: 4.543 billion 3 July 2017
- Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
- Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
- Cover Story – April 2017: Banff Geologic Time 3 April 2017