LONGITUDES

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Cover Story—October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler"

 Mon, Oct 1 2018
Latitudes' home page www.lttds.org

The October 2018 Monthly Cover Story "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" is now up on Latitudes' homepage: www.lttds.org

"Eulàlia Rovira and Adrian Schindler’s new performance, "One motif says to the other: I can’t take my eyes off you" took place on 14th September as part of the Latitudes-curated Cream cheese and pretty ribbons! at Galerie Martin Janda, Vienna, an exhibition that also features the talents of David Bestué, Sean Lynch, and Batia Suter. The exclamatory title of the exhibition (which continues until 13 October as part of the curated_by festival synthesises two of the satirist Karl Kraus’s similes for what, writing in 1910, he considered the cultural polarity of monotonous functionality on the one hand and frivolous adornment on the other. Kraus lampooned both the sobriety of Germanic culture and the good taste of Romance culture, yet judged an even greater taboo was to be found in Vienna’s dressing up of the former with the latter." 

 —> Continue reading
—> After October 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
  • Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’, 17 September 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
    •
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
    •
 2018, Adrian Schindler, Batia Suter, cover story, curating, David Bestué, Eulàlia Rovira, exhibition-making, Galerie Martin Janda, Latitudes-curated, Sean Lynch, Vienna
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Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’

 Mon, Sep 24 2018
The third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.

On September 27, 2018, a live programme of performances will begin as part of the exhibition survey by Joan Morey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats.

‘POSTMORTEM. Pour en finir avec le jugement de dieu’ (2006-2007) will be the first of six the reenactments that will take place on the third floor of the exhibition. 

Each of the six performances is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.

Access to all performances is unrestricted.


An extract from panel 7 of POSTMORTEM. A solo female performer wears a loudspeaker which plays excerpts from "To have done with the judgment of God" (1947) by Antonin Artaud, a radio play which here also serves as a form of a choreographic score. Made inert as an individual by the skin-tight garment that covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.

‘COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona.

 Centre d'Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20 
08030 Barcelona
centredart.bcn.cat


RELATED CONTENT:
 2018, 2019, Barcelona, Centre d'Art Barcelona, Joan Morey, Latitudes-curated, live art, performance
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Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’

 Mon, Sep 17 2018
All photos: Latitudes.

 On September 14, Eulàlia Rovira and Adrian Schindler presented the performance ‘One Motif Says to the Other: I Can’t Take My Eyes Off You’ in the context of the exhibition ‘Cream Cheese and Pretty Ribbons!’, curated by Latitudes at Galerie Martin Janda in Vienna.

The new performance comprised a series of sartorial compositions, music clips, and readings from memory that were inspired by the belts, buckles, chains, harnesses, and tassels that appear on luxury silk scarf designs by brands such as Hermès, as well as the vogue for tattoos appropriating tribal patterns. A companion series of five photographic prints are derived from the intertwining designs of the latter textiles. 














Rovira and Schindler also present another work in the exhibition. "The Feet Fixed to the Ground Betray no Impatience" (2016) features a camera-phone film based around a Barcelona park bench, as well as its sculptural reproduction. This model of street furniture is known as the ‘Romantic double’, and it inspires a narrative and a sequence of gestures that evoke the masterplans that opened up cramped European cities in the 19th century as well as ongoing impulses to organise public space and orchestrate the gaze. 

Eulàlia Rovira & Adrian Schindler, born 1985 & 1989, live in Barcelona.




The exhibition ‘Cream cheese and pretty ribbons!’ 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.

 ‘Cream cheese and pretty ribbons!’ is part of the curated_by Vienna Gallery Festival inviting international curators. In 2018 the festival examines Vienna's systems and contradictions, life between the baroque and present times.

+ info

Share:
#CreamCheeseAndPrettyRibbons 
#CuratedbyVienna 


RELATED CONTENT:
 2018, Adrian Schindler, commissions, Eulàlia Rovira, Galerie Martin Janda, Latitudes-curated, performance, Vienna
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Cover Story–September 2018: Harald Szeemann’s travel sculpture

 Mon, Sep 10 2018
Latitudes' home page www.lttds.org


The September 2018 Monthly Cover Story "Harald Szeemann's travel sculpture" is now up on Latitudes' homepage: www.lttds.org

 "Summer vacations have a habit of turning into busman’s holidays in Latitudes' agenda. Undoubtedly the Swiss curator phenomenon Harald Szeemann (1933–2005) also often sensed or engineered, that trips for pleasure and travel for research and work would inevitably dovetail. Museum of Obsessions, a fascinating but flawed exhibition dedicated to his life and work has just closed at Kunsthalle Bern (it will tour to Kunsthalle Düsseldorf, Castello di Rivoli, and the Swiss Institute, New York)."

—> Continue reading
—> After September 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
  • 1 Diciembre, 20:30h: Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016) 27 noviembre 2017
  • Cover Story–August 2018: Askeaton Joyride 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • 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
 2018, cover story, Curatorial Practice, exhibition-making, Harald Szeemann, Kunsthalle Bern, travel
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Eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi from Buenos Aires, Argentina

 Thu, Sep 6 2018
Episode 8 from Buenos Aires now online on http://incidents.kadist.org/


In the eighth 'Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.








'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and a day conceived by an artist for a curator.

Conceived by Latitudes in 2012 as day-long artist-led tours around Mexico City (with five dispatches presented as part of an exhibition at Casa del Lago), 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via Twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts as part of Kadist's Instagram take over initiative #ArtistNotInTheStudioCuratorNotAtTheOffice).

In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects, publishing contributions from invited curators and artists working around the world.




Earlier conversations have taken place in Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

 The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan.





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.




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.

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.



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."


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.



 The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. 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.

RELATED CONTENT:

 2016, 2017, 2018, archive, Buenos Aires, curatorial writing, edited by Latitudes, editorial, fieldwork, Incidents of Travel, Kadist Art Foundation, online, out of the studio, report, research, studio visit
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Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats

 Mon, Sep 3 2018
Joan Morey, ‘POSTMORTEM. Projet en sept tableaux’ (2006–2007). Courtesy of the artist. Documentation photography: Noemi Jariod.

Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, exploring the intersection of theatre, cinema, philosophy, sexuality and subjectivity. Most recently, in 2017 Morey was awarded the Ciutat de Barcelona Award for Visual Arts given by Barcelona City Council in recognition of excellence in creativity, research and artistic production.

COLLAPSE encompasses three parts. The first, opening on September 19 at 7pm, will be presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, working machine’ is a survey of ten major projects from the last fifteen years of the artist’s work and it will be on view until January 13, 2019.

The second part will open on November 22 at 7:30pm at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (also on view until January 13, 2019) and is the definitive version of the touring exhibition Social Body, the winning project of the third edition of the Video Production Prize launched by the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica and LOOP Barcelona.

Titled Schizophrenic machine, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.

 Share: #JoanMoreyColapso

Joan Morey, ‘IL LINGUAGGIO DEL CORPO’ (2015). Courtesy of the artist. 


PERFORMANCE PROGRAMME

27 September 2018, 7pm
‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God], 2006–2007
Interpreted by Sònia Gómez.

11 October 2018, 7pm 
‘LLETANÍA APÒRIMA’ [APORIC LITANY], 2009
Interpreted by Jordi Vall-lamora.

25 October 2018, 7pm
‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009
Interpreted by Carme Callol and Tatin Revenga.

15 November 2018, 7pm
‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], 2010
Interpreted by Manuel Segade.

29 November 2018, 5pm
‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPONGUAGE. Prologue], 2015–2016
Interpreted by Catalina Carrasco and Gaspar Morey.

13 December 2018, 7pm
‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE. The Utopian Body], 2017
Interpreted by Eduard Escoffet.

 Centre d’Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20
08030 Barcelona
centredart.bcn.cat

Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.

 [ES]

Desde finales de la década de 1990, Joan Morey (Mallorca, 1972) ha producido un amplio número de eventos en vivo, videos, instalaciones, sonido y obra gráfica, explorando la intersección del teatro, el cine, la filosofía, la sexualidad y la subjetividad. En 2017 Morey fue galardonado con el Premi Ciutat de Barcelona de Artes Visuales otorgado por el Ayuntamiento de Barcelona en reconocimiento a la excelencia en creatividad, investigación y producción artística.

COLAPSO consta de tres partes. La primera se presenta en dos plantas del Centro de Arte Contemporáneo de Barcelona - Fabra i Coats: Máquina deseante, máquina de trabajo revisa diez proyectos del artista realizados en los últimos quince años.

La segunda parte de COLAPSO inaugurará el 22 de noviembre a las 19:30h en el Centre d'Art Tecla Sala, en L'Hospitalet de Llobregat, y podrá visitarse entre el 23 de noviembre de 2018 y el 13 de enero de 2019. Esta consiste en una presentación en evolución de la videoperformance COS SOCIAL. Lección de anatomía, que en 2017 contó para su producción con el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona.

La tercera parte, que lleva por título Máquina esquizofrénica, consiste en una performance inédita que tendrá lugar el 10 de enero de 2019 en una localización de Barcelona muy relevante pero que, por el momento, se mantiene deliberadamente en secreto. La acción en vivo se integrará en la narrativa, más extensa, del pasado físico y discursivo de dicho espacio.

 Comparte: #JoanMoreyColapso
Joan Morey, ‘TOUR DE FORCE’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.

PROGRAMA DE PERFORMANCE

27 septiembre 2018, 19 h
‘POSTMORTEM. Pour en finir avec le jugement de Dieu’, 2006–2007
Intérprete: Sònia Gómez.

11 octubre 2018, 19 h
‘LLETANÍA APÒRIMA’, 2009
Intérprete: Jordi Vall-lamora.

25 octubre 2018, 19 h
‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’, 2009
Intérpretes: Carme Callol y Tatin Revenga.

15 noviembre 2018, 19 h
‘BAREBACK. Fenomenología de la comunión’, 2010
Intérprete: Manuel Segade.

29 noviembre 2018, 17 h
‘IL LINGUAGGIO DEL CORPO. Prólogo’, 2015–2016
Intérpretes: Catalina Carrasco y Gaspar Morey.

13 diciembre 2018, 19 h
‘TOUR DE FORCE. El cos utòpic’, 2017
Intérprete: Eduard Escoffet.

Centre d’Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20
08030 Barcelona
centredart.bcn.cat



RELATED CONTENT:
 2018, Barcelona, Centre d'Art Barcelona, curatorial writing, Joan Morey, Latitudes-curated, performance, Solo show, Tecla Sala
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Latitudes' "out of office": wrap up of the 2017–2018 season

 Thu, Aug 2 2018
This is possibly our favourite post of the year. Not just because it means we’ll shortly be taking a deserved summer break. But also because it brings a sense of accomplishment to look back at what has happened during the last twelve months — to remember the many conversations we’ve had, the places we’ve been privileged to visit and to refresh all those ideas and plans we intended to move forward. Onwards!

September 11—October 6, 2017: Lead Faculty of the month-long "Geologic Time" residency at The Banff Centre for Arts and Creativity in Alberta, Canada.

In this blog post, we shared some lithic impressions of the four weeks we spent leading a programme in Alberta's Rocky Mountains.

One of the epic moments of the month: a gorgeous hike to Stanley Glacier.
At the base of Mount Stanley, we found 505-million-year-old Burgess Shale trilobites, soft-body fossils from the Eldon formation.
Snow surprised us on our final week in Banff.

Welcome coffee with third week Guest faculty Sean Lynch.
A fun evening at High Rollers bowling alley in Banff town.

The closing event of "Geologic Time" was conceived as a two-hour infiltration into the pages, shelves, and display possibilities of The Banff Centre library. Featuring storytelling, documentation, annotation, sculpture, video, conversation and other live situations, the event presented some sediments of the ten participants’ ongoing research and geological collaborations. Pdf of the event programme.

Posters communicating some of the seminars and excursions programmed during the four weeks. Design/Photos: Latitudes.

Intervention by Semâ Bekirovic, based in Amsterdam. Bekirovic employed a number of external hard drives to act as pedestals for small stones. How many terabytes can a hunk of rock hold? What fragments of data detritus, chunks and grains of documents, broken off images, or weathered files, might be read and written, stored or retrieved?

Intervention by Caitlin Chaisson based in Vancouver. Chaisson researched a former experimental farm station in Agassiz, British Columbia, and a forgotten centennial time capsule buried under a granite marker there. Caitlin also presented a cut-and-paste station on the table next to the photocopier, and a display for the tall vitrine just behind it.

Intervention by Caroline Loewen, based in Calgary. Caroline delves deep into the story of sandstone in Alberta, a rock that gained widespread favour for building and decorative use following Calgary’s Great Fire of 1886. The black-and-brown Rundle Rock that was once quarried at the base of Banff-Centre-neighbour Mount Rundle and was used extensively in creating the Banff Springs Hotel also joins a conversation that anticipates an exhibition scheduled for next summer at Lougheed House in Calgary.

Intervention by Justy Phillips & Margaret Woodward (A Published Event) based in Hobart. Described by the Hobart-based duo as “an accumulative event of mineralogical, metaphysical and metallurgical telling”, the books that have come into the world to date have been incorporated into the library’s holdings alongside a glossary and can be found in the geology section upstairs.

An audio narration drafted by Penelope Smart was also heard on the upper floor, near the “memoirs and narrative” section. Here, an image of the exquisite marble bust by Giovanni Strazza animated Penny’s writing during the last weeks. It came to St.John’s, Newfoundland, in 1856. Ring the bell to the right of the main door of the Presentation Convent adjoining the Basilica in St.John’s and maybe one of the sisters will let you see it.

Remnants of the 2-hour event.

For the final event on October 5th, participants Becky Forsythe and Camila Sposati decided to collaborate through a performance using the library photocopier on the main floor. ‘"Receding Agate" and "Receding Rhodochrosite" was a collection of pages produced during a procedural artwork that slowly and methodically extracted copies of Agate and Rhodochrosite from Roger Caillois' "The Writing of Stones". Each page is a copy of the last, so text begins to harden into pebble-like shapes, and images begin to simplify as darker forms in an experiment of accumulation and sedimentation.’




Far Afield, the artistic-curatorial initiative led by the also participant Caitlin Chaisson, hand-bound the resulting two-part publication for Far Afield's library, a platform for "collecting and sharing publications that support experimental art practices".

      Photos by Far Afield's library.

27 October 2017: Cabaret at La Capella space, a public programme organised by the Museu d'Art Contemporani de Barcelona in the context of their Joan Brossa exhibition. The Capella space was decorated with fragments of Antoni Hervàs "El Misterio de Caviria" scenography, presented only a year earlier at the other La Capella space as part of the 2016 BCN Producció season. The project was mentored by Latitudes. Following Hervàs’s interests in Barcelona’s dwindling cabaret scene, he invited Gilda Love and castanets master Juan de la Cruz "el Rosillo" (who sadly passed away a few months after) to interpret a moving repertoire of popular Spanish copla, against the backdrop of parts of his scenography. 


Gilda Love and castanets master Juan de la Cruz "el Rosillo". Photos by Dani Cantó/MACBA.

5 November 2017: The 1878 painting by Alfred Roll "The Old Quarryman" is exchanged with Alfred Smith's "The Grave Docks" (1884) in the Latitudes-curated exhibition "4.543 billion" at the CAPC musée. The show remains on view another two more months, until January 7, 2018.

Photo: Lysian Gauthier © Musée d'art contemporain de Bordeaux.

Photo: Alice Cavender.

(Unframed) Alfred Smith's (Bordeaux, 1854–Paris, 1936) “Le Quai de la Grave” [The Grave Docks] (1884). Collection of the Musée des Beaux-Arts, Bordeaux.

15 November 2017: Study day at CAPC musée "The Return of the Earth. Ecologising Art History in the Anthropocene." With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—the event convened by '4.543 billion'-curators Max Andrews and Mariana Cánepa Luna, saw art practice and historical research intertwining with environmental and geological narratives, and vice versa.

(Top) Left to right: Max Andrews, Xavier Ribas, Jean-Baptiste Fressoz and Ângela Ferreira during the debate. (Below) Ângela discussing her work in the exhibition. Photos (Above and below): Latitudes.


22 November 2017: Launch of Anna Moreno's "The Drowned Giant" publication at the Col·legi d'Arquitectes de Catalunya alongside architect and researcher Lluis A. Casanovas. Moreno's project is part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor. 

 Video of the presentation (in Catalan).

Photos (this and following): Pep Herrero / La Capella—Barcelona Producció 2017.




(Above) Photo: Anna Moreno.

Earlier that week we spent two intense mornings unpacking, hand spraying, numbering, inserting poster and booklet and re-packaging the limited edition of 300 vinyl records in the former Escola Massana, nearby La Capella. 

 A short video on the project was screened on betevé tv (in Catalan, starting 04:24min).


Photos (Above and below): Latitudes.




1 December 2017: Latitudes introduces the documentary "Harald Szeemann. The Life of a Dreamer" premiered at Cinemes Girona as part of the first edition of Dart Festival 2017, the Festival of Documentary Cinema on Contemporary Art.


Photo: Latitudes.

9 December 2017: Mariana of Latitudes led the first "Parlem" [Let's talk] guided tour around the exhibition "Rosemarie Castoro. Focus at infinity", curated by Tanya Barson, MACBA's Chief Curator, a free event repeated on March 10 and March 31st.

Photo: Latitudes.

December 2017: Transition from Storify to Wakelet to archive all the social media stories related to Latitudes' projects.
Latitudes' Wakelet profile.

20 December 2017: Max Andrews of Latitudes (and Contributing Editor of frieze magazine) looks back at 2017 from Barcelona and beyond, at some art highlights from a tumultuous 2017, including Amie Siegel, Pierre Huyghe, Lúa Coderch, Francesc Torres, Adrià Julià, Jordi Mitjà, Eulàlia Rovira & Adrian Schindler, Joan Morey, and Claudia Pagès. 

2017 from Barcelona and beyond.

23 January 2018: Opening of the exhibition "Artengo2000" by Magda Vaz and Camille Orny at the sala petita of La Capella. This is the third and final Barcelona Producció project mentored by Latitudes.
(Above and below) View from "Artengo2000", an exhibition by Camille Orny and Magda Vaz at the Sala Petita in La Capella. Photo: Pep Herrero / La Capella.




23 January 2018: The online platform arteinformado.com publishes three artist recommendations by five Spanish-based curators. Mariana Cánepa of Latitudes selected Gerard Ortín, Martín Llavaneras and Anna Moreno.

25 January 2018: Print proofs of the forthcoming John Kørner's monograph published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews' of Latitudes, published on the occasion of his recent mid-career retrospective "Altid Mange Problemer" at Kunsthal Charlottenborg in Copenhagen (17 June–13 August 2017).

2 February 2018: Roulette Russe publish an image of John Kørner's book hot off the press.





9–10 February 2018: Trip to Montpellier to attend the opening of "Crash Test" at La Panacée/Centre d'art Contemporain MoCo.

16 February 2018: Max Andrews of Latitudes wrote a review of the show for frieze magazine published online and in the printed issue in April.

Installation piece by Alice Channer.
Work by Agnieszka Kurant (foreground) and Aude Pariset (background).

Detail of a vitrine piece by Bianca Bondi.

15 February 2018: Award ceremony of the 2017 Premis Ciutat de Barcelona, of which Mariana was a jury member in the Visual Arts category. Joan Morey was the awarded visual artist.

20–23 February 2018: Trip to ARCOmadrid fair, below some social media posts.




Photo: Roberto Ruiz.

 Lola Lasurt presented ‘Donació’ (Donation) in the Galeria Joan Prats booth, a body of work produced for the ‘Composiciones’ commissioning series Latitudes curated for the Barcelona Gallery Weekend 2016. Lasurt was also exhibiting as part of La Casa Encendida's "Generación 2018".
22 February 2018: Max Andrews' review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona, is published online. The text is also be included in the printed issue in April. 
Review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona.


26 February 2018: After nearly two years in development, the sixth ‘Incidents (of Travel)’ dispatch from Yerevan, Armenia, is finally live! 

In her day-long tour Yerevan-born, San Diego-based curator and researcher Marianna Hovhannisyan extended the invitation to Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan, three students from the studio college at the National Center of Aesthetics. The purpose was to document transformed, disappeared, or permanently-closed art institutions in the city centre. The shared inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work. As they were putting together the touches on this online version of the offline day, the studio-college itself closed down permanently at the end of 2017.
http://incidents.kadist.org/yerevan

2 March 2018: Book launch of John Kørner's monograph in Copenhagen. Published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews.


 (Above and below). Courtesy Roulette Russe. Photos by Finn Wergel Dahlgren.


March 10 and 31, 2018: Second and third guided visits to Rosemarie Castoro's exhibition at MACBA led by Mariana Cánepa Luna of Latitudes.

MACBA's Instagram story announcing the talk.

March 20, 2018: Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda."A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center."

Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda.

The same day, we sent the Spring newsletter to our contacts, in English and in Spanish.

12—14 April 2018: Three performances by Les Brontë, Quim Pujol and Eliana Beltrán over three consecutive evenings at La Capella, part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor.
(Above and below) "Fine Cherry" performance by Les Brontë. Photos: Latitudes.





"Verde Croma" by Quim Pujol. Photos: Latitudes.

"Reading Room #3" by Eliana Beltrán. Photos: Latitudes.


1 May 2018: Max Andrews' profile on Madrid-based artist Teresa Solar Abboud goes online on frieze website.



28 April–4 May 2018: Trip to Berlin during the Gallery Weekend, and later to Cologne to visit Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig, and Ana Jotta's first solo exhibition in Germany at the Temporary Gallery. More on this blog post and on this Wakelet feed.





23–29 May 2018: Trip to London to visit +35 exhibitions, friends, and family – highlights below, full photo report here. Short day trip to Oxford's Pitt Rivers Museum (a favourite of ours), the Natural History Museum and Modern Art Oxford. 
 (Above and below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
(Above) The incredible main hall of the Pitt Rivers Museum in Oxford.
 (Above) The opening of 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). 

 Fantastic assembly of Markus Lüperz's tent paintings at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.

 Batia Suter's work at The Photographers' Galery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018, finally won by Luke Willis Thompson with his striking film "autoportrait".
   (Above) Antoni Hervàs studio at Gasworks during his 3-month residency.
   (Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
(Above) Peter Gabriel discussing his 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.

Things that make us very happy: when a friend travels half the world to find one of our publications (Amikejo catalogue by Mousse Publishing in 2011) in the library of TEORética in Costa Rica and shares a snapshot on Twitter :-)

28 June 2018: The seventh ‘Incidents (of Travel)’ dispatch from Hobart, Tasmania, goes live on http://incidents.kadist.org/ On this occasion, the offline conversation took place between curator Camila Marambio and artist Lucy Bleach. We're also working on the eighth destination: Buenos Aires.
http://incidents.kadist.org/
Throughout June–July 2018: Intense writing period in preparation for two forthcoming exhibitions: ‘Cream cheese and pretty ribbons!’ (Galerie Martin Janda, Vienna, opening on September 13 and, on view until October 14) and ‘COLLAPSE’, a solo exhibition by Joan Morey opening on September 19 over two floors of the Centre d'Art Contemporani de Barcelona - Fabra i Coats, with the following chapters at the Centre d'Art Tecla Sala (23 November 2018–13 January 2019) and a new commission at a yet-undisclosed location (10 January 2019).


18–29 July 2018: Two days in Dublin followed by a 10-day residency in Askeaton, as part of Askeaton Contemporary Art's (ACA) thirteenth annual event "Welcome to the neighbourhood". In 2018 ACA invited artists Matt Calderwood, Jonny Lyons, Ruth Clinton, and Niamh Moriarty, alongside curators Gareth Bell-Jones (Flat Time House, London) and Latitudes. More on this post.

Desmore castle undergoing restoration.
Artists and POW workers after the tour.
RUSAL Aughinish alumina plant from afar, this is the largest alumina refinery in Europe.
Group trip to Lismore Castle upper garden in County Waterford.
The gardens featured works by Franz West (above) and Rashid Johnson (below).

The Grange Stone circle.



During the residency, we learnt of the story of ‘the Pilgrim’, a merchant from Barcelona who arrived in Askeaton around 1767 and who lived out his life in the Franciscan friary, dying there in 1784. Digging further in the local library, we came across a 1984 article written by Tim Kelly in a back issue of the ABC News, Askeaton’s local publication of record. The story reveals a dramatic narrative bringing to life a cryptic inscription found in the cloister that reads “Beneath lies the Pilgrim’s body, who died January 17, 1784”. The tale involves an Italian, a Spaniard, and a morbid blood-hunt that links Barcelona with Askeaton and is read aloud by artist Carl Doran. 


Matt Calderwood's boat ready to sail on the River Deel.

Making of Jonny Lyons’ "Joyride" on the River Deel.

"Welcome to the neighbourhood" Open day.



August 2018: Aaaand we’re out of office! Kinda.

Save the following dates:

13 September, 6–9pm: Opening of ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna. 

14 September, 6pm: Performance “One motif says to the other: I can’t take my eyes off you” by Adrian Schindler and Eulàlia Rovira. Followed by the artist lecture: “A Blow by Blow Account of Stonecarving in Oxford” by Sean Lynch. Part of the exhibition ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna.

19 September, 19h: Opening of ‘Joan Morey. COLLAPSE’, Centre d'Art Contemporani de Barcelona - Fabra i Coats.

RELATED CONTENT:

 2017, 2018, BCN Producció, behind the scenes, CAPC Bordeaux, Frieze, Joan Morey, John Korner, Latitudes-curated, looking back, Mariana Cánepa Luna, Max Andrews, out of office, The Banff Center
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Cover Story–August 2018: Askeaton Joyride

 Wed, Aug 1 2018
Latitudes' home page www.lttds.org

The August 2018 Monthly Cover Story "Askeaton Joyride" is now up on Latitudes' homepage: www.lttds.org

 "Strange and wonderful things happen in Askeaton—especially during each summer for the last thirteen years. Initiated by artists Michele Horrigan and Sean Lynch in 2006, the residency programme Welcome to the Neighbourhood hosts artists and curators in the midst of this small town community in County Limerick, Ireland, under the umbrella of Askeaton Contemporary Arts."

—> Continue reading
—> After August 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 – July 2018: "No Burgers for Sale" 2 July 2018
  • 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
 2018, Askeaton, cover story, curatorial writing, Ireland, Jonny Lyons, Matt Calderwood, Michele Horrigan, Niamh Moriarty, residency, Ruth Clinton, Sean Lynch, The Pilgrim
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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. 

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.  

2018 programme.

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.

"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]

Askeaton's square. Desmond Castle is in the background. All photos: Latitudes.

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.

 Banqueting Hall next to Desmond Castle is also under restoration.

Tour by the OPW workers restoring Desmond Castle.

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. 

"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]




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). 

“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:
 2018, Askeaton, Ireland, Jonny Lyons, latitudes, Matt Calderwood, Michele Horrigan, microhistory, Niamh Moriarty, residency, Ruth Clinton, Sean Lynch, talks programme
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Cover Story–July 2018: No Burgers for Sale

 Mon, Jul 2 2018
Latitudes' home page www.lttds.org


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
 2009, 2018, cover story, curatorial writing, Jan Dibbets, Martí Anson, New York, No Soul for Sale, Portscapes, The Bruce High Quality Foundation, X initiative
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