Cover Story, October 2023: A tree felled, a tree cut in 7
Mon, Oct 2 2023
October 2023 cover story on www.lttds.org
The October 2023 monthly Cover Story “A tree felled, a tree cut in 7” is now up on our homepage: www.lttds.org
“What is the value of a single tree? How can it be measured? Following the initial shock at the news of the deliberate felling of the Sycamore Gap tree on 28 September 2023, a sense of reflective grief brought to mind such questions.” → Continue reading (after October 2023 this story 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 projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
- Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
- Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
- Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
- Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
- Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
- Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
- Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
- Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
- Cover Story, September 2022: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2022
Reviews of the exhibition "4.543 billion. The matter of matter" at the CAPC musée, Bordeaux
Fri, Jan 19 2018As the ‘4.543 billion. The matter of matter’ exhibition concluded on January 7, 2018, at the CAPC musée in Bordeaux, we finished archiving all the social media posts visitors, the museum and ourselves have published – see our Wakelet feed below – since research phase to the exhibition itself, and below share the most relevant print and online reviews.
December 8, 2017: Tom Jeffreys highlighted the exhibition in his "Looking Back: Paris" roundup for frieze magazine – illustrated with two works included in the show by Nicholas Mangan and Alexandra Navratil.
"A little less academic, but no less rigorous, was ‘4,543 milliards’ (4,543 billion), curated by the Barcelona-based Latitudes (co-founded by frieze contributing editor Max Andrews) at CAPC, Bordeaux. Subtitled ‘The matter of matter’, the exhibition provided a material, geological and political response to the building’s former life as a warehouse for colonial commodities and, by extension, the complex entanglement of culture, money, politics and ecological impact. Marble from Trump Tower (Amie Siegel’s "Strata", 2017) was exhibited alongside partially-burnt documents rescued from a fire at the Bordeaux municipal archives and a 1939 mock invitation to the ‘Museum of Standard Oil’, actually MoMA’s new building, issued by the then-publications director, Frances Collins (unsurprisingly fired soon after). Combining archival materials with work by 30 artists, big ideas with specificity and nuance, this was exactly the kind of exhibition I would want to return to again and again. If the selection of the next artistic director the Venice Biennale were a democratic process, I’d be voting for Latitudes."
November 28, 2017: Frank Browning, Paris-based Contributor to the Huffington Post author, and former NPR Correspondent, reviewed the recently opened retrospective of Beatriz González and concluded his article with a short mention:
"Meanwhile, around the corner at CAPC there’s an intriguing assembly of stones, papers, paintings, photographs and projections that unite geo-physics, sculpture, and art history, including the conversion of the building itself from a one-time commodities warehouse into its current life as a museum.
Entitled “The Matter of Matter,” [missing "4.543 billion" years, the age of the Earth, and the first part of the exhibition title] it includes the work of 30 artists, assembled and mounted by a Spanish team, Max Andrews and Mariana Cánepa Luna. They call themselves Latitudes [wrongly published with two "T"]; they aim to excavate the world we inhabit daily, be it through the history indigo mining in Mexico and southern France (vital for fine pottery and coloring bluejeans) or oil extraction in Venezuela, gas infused sculptures or open pit diamond mining in southern Africa. All that we do, all that we eat, all that we create derives from one form of excavation or another. Simple truism as it may seem, Latitudes takes us into the intimacies of our relation with this earth and calls us to meditate on our physical and aesthetic relation to the steadily warming round rock that is our home."
September 20, 2017: Emmanuel Labails of RCF Radio did a 9-minute interview with Pedro Jiménez Morras, Head of Press of CAPC, who discussed the premises of the exhibition and some of its works. (Listen between minute 4:39 and 13:36).
August 19, 2017: Bea Espejo's ‘Cambio de tiempo’, on the Spanish national cultural supplement Babelia, in El País newspaper begins:
˝A ese pensamiento geológico del tiempo conduce la exposición 4.543 millones. La cuestión de la materia en el CAPC de Burdeos. La muestra aborda obras de arte, colecciones e historias culturales con relación a procesos ecológicos y la escala geológica del tiempo. En total, más de 35 artistas que dan valor a las discontinuidades, a las derivas y a las ausencias. La muestra almacena el tiempo como una batería almacena la energía. Y lo hace en varias capas de lectura. Una de ellas es el tiempo que lleva Latitudes, la oficina curatorial de Mariana Cánepa Luna y Max Andrews, trabajando en este proyecto, seguramente el más complejo y ambicioso, aunque esta investigación en torno a las complejas relaciones entre la ecología y el arte contemporáneo está en la base de todos sus proyectos desde 2005. Aquí no pueden ser más rotundos. Abordan la cuestión de la materia desde el lado más inmaterial, que es la memoria. Para ello, estudiaron a fondo el contexto de la ciudad bajo un programa de residencias del museo. Hablamos, pues, de un proyecto de investigación, algo que se traduce en cada pequeño gesto que recoge la muestra, y que lo expande todo. De ahí las relaciones de algunas obras con el departamento de zoología de la universidad (Ilana Halperin), el Museo de Bellas Artes (Stuart Whipps, o el préstamo de Alfred Roll), así como los muchos documentos y objetos que se incluyen de los archivos Métropole, de la Gironde y la colección geológica de la UFR Sciences de la Terre et de la Mer, de la Universidad de Burdeos.˝
July 12, 2017: Catherine Darfay's ‘Le CAPC remonte le temps’ on the local newspaper "Sudouest", was the first feature. The article was illustrated with a with an image showing Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) chartering the daily price of carbon dioxide emissions allowances in the world’s largest carbon market —a changing value documented in this blog post.
RELATED CONTENT:
2017, 4543 billion, Alexandra Navratil, amie siegel, Amy Balkin, CAPC Bordeaux, cover story, Frieze, Ilana Halperin, Latitudes-curated, Nicholas Mangan, press coverage, reseña, Reviews, Stuart Whipps, Wakelet
Wakelet collection of the "4.543 billion" exhibition.
December 8, 2017: Tom Jeffreys highlighted the exhibition in his "Looking Back: Paris" roundup for frieze magazine – illustrated with two works included in the show by Nicholas Mangan and Alexandra Navratil.
"A little less academic, but no less rigorous, was ‘4,543 milliards’ (4,543 billion), curated by the Barcelona-based Latitudes (co-founded by frieze contributing editor Max Andrews) at CAPC, Bordeaux. Subtitled ‘The matter of matter’, the exhibition provided a material, geological and political response to the building’s former life as a warehouse for colonial commodities and, by extension, the complex entanglement of culture, money, politics and ecological impact. Marble from Trump Tower (Amie Siegel’s "Strata", 2017) was exhibited alongside partially-burnt documents rescued from a fire at the Bordeaux municipal archives and a 1939 mock invitation to the ‘Museum of Standard Oil’, actually MoMA’s new building, issued by the then-publications director, Frances Collins (unsurprisingly fired soon after). Combining archival materials with work by 30 artists, big ideas with specificity and nuance, this was exactly the kind of exhibition I would want to return to again and again. If the selection of the next artistic director the Venice Biennale were a democratic process, I’d be voting for Latitudes."
"Meanwhile, around the corner at CAPC there’s an intriguing assembly of stones, papers, paintings, photographs and projections that unite geo-physics, sculpture, and art history, including the conversion of the building itself from a one-time commodities warehouse into its current life as a museum.
Entitled “The Matter of Matter,” [missing "4.543 billion" years, the age of the Earth, and the first part of the exhibition title] it includes the work of 30 artists, assembled and mounted by a Spanish team, Max Andrews and Mariana Cánepa Luna. They call themselves Latitudes [wrongly published with two "T"]; they aim to excavate the world we inhabit daily, be it through the history indigo mining in Mexico and southern France (vital for fine pottery and coloring bluejeans) or oil extraction in Venezuela, gas infused sculptures or open pit diamond mining in southern Africa. All that we do, all that we eat, all that we create derives from one form of excavation or another. Simple truism as it may seem, Latitudes takes us into the intimacies of our relation with this earth and calls us to meditate on our physical and aesthetic relation to the steadily warming round rock that is our home."
September 20, 2017: Emmanuel Labails of RCF Radio did a 9-minute interview with Pedro Jiménez Morras, Head of Press of CAPC, who discussed the premises of the exhibition and some of its works. (Listen between minute 4:39 and 13:36).
August 19, 2017: Bea Espejo's ‘Cambio de tiempo’, on the Spanish national cultural supplement Babelia, in El País newspaper begins:
˝A ese pensamiento geológico del tiempo conduce la exposición 4.543 millones. La cuestión de la materia en el CAPC de Burdeos. La muestra aborda obras de arte, colecciones e historias culturales con relación a procesos ecológicos y la escala geológica del tiempo. En total, más de 35 artistas que dan valor a las discontinuidades, a las derivas y a las ausencias. La muestra almacena el tiempo como una batería almacena la energía. Y lo hace en varias capas de lectura. Una de ellas es el tiempo que lleva Latitudes, la oficina curatorial de Mariana Cánepa Luna y Max Andrews, trabajando en este proyecto, seguramente el más complejo y ambicioso, aunque esta investigación en torno a las complejas relaciones entre la ecología y el arte contemporáneo está en la base de todos sus proyectos desde 2005. Aquí no pueden ser más rotundos. Abordan la cuestión de la materia desde el lado más inmaterial, que es la memoria. Para ello, estudiaron a fondo el contexto de la ciudad bajo un programa de residencias del museo. Hablamos, pues, de un proyecto de investigación, algo que se traduce en cada pequeño gesto que recoge la muestra, y que lo expande todo. De ahí las relaciones de algunas obras con el departamento de zoología de la universidad (Ilana Halperin), el Museo de Bellas Artes (Stuart Whipps, o el préstamo de Alfred Roll), así como los muchos documentos y objetos que se incluyen de los archivos Métropole, de la Gironde y la colección geológica de la UFR Sciences de la Terre et de la Mer, de la Universidad de Burdeos.˝
July 12, 2017: Catherine Darfay's ‘Le CAPC remonte le temps’ on the local newspaper "Sudouest", was the first feature. The article was illustrated with a with an image showing Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) chartering the daily price of carbon dioxide emissions allowances in the world’s largest carbon market —a changing value documented in this blog post.
RELATED CONTENT:
- “4.543 billion. The Matter of Matter” exhibition
- Archive of social networks posts related to "4.543 billion"
- Photo gallery of the exhibition
- CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
- Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
- Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
- Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017
- 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
- Cover Story – July 2017: 4.543 billion 3 July 2017
- Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
- SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
- 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
Progress of Amy Balkin's ‘Today’s CO2 Spot Price’ (2009)
Mon, Jan 8 2018
Installation of Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) on the opening day, 29 June 2017. Photo: Latitudes/RK.
Throughout the course of the ‘4.543 billion. The Matter of Matter’ exhibition at the CAPC musée in Bordeaux, the work by Amy Balkin (Baltimore, Maryland, 1967. Lives in San Francisco) ‘Today’s CO2 Spot Price’ (2009) charted the daily price of carbon dioxide emissions allowances in the world’s largest carbon market, the EU Emissions Trading Scheme. The numbering system was manually updated every morning to show the price in Euros of an entitlement to legally emit one metric tonne of CO2. Polluters—power plants or factories—receive or buy emissions allowances at auctions and trade them as needed to minimize costs.
A product of the increasing dominance of the finance sector and the expansion of financial derivatives that emerged in the 1970s, the carbon market ‘fix’ has abstracted the qualitative problem of climate change mitigation into a commodity market based on a molecule treated as the singular cause. There is a trend towards emissions that can be lucratively ‘avoided’, while there has been little effect on structural fossil fuel dependence. In this perspective, global warming is a market failure that can be corrected by governing the atmosphere via an economic instrument with no real material or historical reference.
Balkin's piece was presented alongside works by Pep Vidal, Lucas Ihlein, and Lara Almarcegui, all focusing on humans' calculations and quantification of nature and its progressive abstraction.
—Latitudes
(Text from the exhibition guide)
‘4.543 billion. The matter of matter’ took place between the June 29, 2017 and January 7, 2018 at the CAPC musée d'art contemporain, Bordeaux, France.
General view of room 8. Photo: Latitudes/RK.
Work by Lara Almarcegui (wall) and Pep Vidal (floor). Photo: Latitudes/RK.
Prints by Lucas Ihlein (wall) and part of a tree by Pep Vidal (floor). Photo: Latitudes/RK.
Below a sequence of all the social media posts (mostly from Instagrammers, more on this and other works on this Wakelet feed) showing the ongoing flux of its price—which has ranged from 4,84 Eur per tonne of CO2 during the installation of the piece, to 4,93 Eur on the opening day (29 June 2017), to the last picture on record showing a whopping 7,76 Eur per tonne of CO2.
We would like to thank the KADIST in San Francisco for having given us the opportunity to, after years of corresponding over email, finally meet Amy during a residency in September 2015. Her "Incidents of Travel" day on several locations in and outside San Francisco (download the specially-commissioned itinerary here) was invaluable towards the conceptualization of this exhibition.
Installing ‘Today’s CO2 Spot Price’ (2009). Photo: Latitudes for @capc
Taken on 2 July 2017. Photo: Latitudes.
Image published in the Sudouest newspaper on 12 July 2017 showing 04,98 EUR/tC02.
Taken on 13 July 2017 by Hélène Lucien.
Taken on 16 July 2017 by Adriano Pedrosa.
Taken on 2 August 2017 by Lena Joreis.
Taken on 19 August 2017 by Semi-Sans.
Taken on 22 August 2017 by Mads Freund Brunse.
Taken on 12 October 2017 by Tomas Mendizabal.
Taken on 17 October 2017 by @Margareth.
Taken on 20 November 2017 by @matlegall.
Taken on 2 November 2017 by @Elénie.
Taken on 30 November 2017 by @mllelahaye
Taken on 1 December 2017 by @mommou.elle
Taken on January 7, 2018, the last day of the exhibition, by exhibition coordinator Alice Cavender.
RELATED CONTENT:
- “4.543 billion. The Matter of Matter” exhibition
- Archive of social networks posts related to "4.543 billion"
- Photo gallery of the exhibition
- CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
- Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
- Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
- Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017
- 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
- Cover Story – July 2017: 4.543 billion 3 July 2017
- Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
- SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
- 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
Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook
Mon, Dec 5 2016
The December Monthly Cover Story is now up on www.lttds.org – after this month it will be archived here.
"The publication Land, Art: A Cultural Ecology Handbook is ten years old. Commissioned by the Arts & Ecology programme of The Royal Society for the Encouragement of Arts, Manufactures & Commerce (RSA), in partnership with Arts Council England, this book was one of Latitudes’s first projects. Through the inspirational contributions of people as varied as Lucy Lippard, Stephanie Smith, Amy Balkin, or the late Wangari Maathai – to mention just a few – the compendium charted the twin legacies of Land Art and the environmental movement while proposing how the critical acuity of art might remain relevant in the face of the dramatic ecological consequences of human activity. The research and reflection involved set Latitudes on a course that led to several further projects engaging with ecology, explicitly or otherwise." Continue reading...
Related content:
- Archive of Cover Stories
- Photos of the launch of the publication 'LAND, ART: A Cultural Ecology Handbook' at the LCE, London 15 December 2006
- Photos of the publication 'LAND, ART: A Cultural Ecology Handbook' (RSA, 2006) 14 December 2006
- Looking back – Visiting Robert Smithson's 'Spiral Jetty' (1970) 7 September 2004
- Cover Story, November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor 2 November 2016
- Cover Story, October 2016: "A Funny thing Happened on the Way to the Gallery, 13 October 2016
- Cover Story, September 2016: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
- Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
Residency at the Kadist Art Foundation, San Francisco, 26 August–9 September 2015
Wed, Aug 26 2015
Kadist Art Foundation, San Francisco, 2014 (exterior view). Photo: Arash Fayez, Courtesy Kadist Art Foundation.
Between 26 August–9 September 2015 Latitudes will be in residency at Kadist Art Foundation in San Francisco. During this time, and following its two previous iterations in Mexico City (Casa del Lago, 2012) and Hong Kong (Spring Workshop, 2013), Latitudes will do a new iteration of 'Incidents of Travel' exploring San Francisco. Three specially-commissioned tours by artists Amy Balkin, the artist collective Will Brown (a collaborative project of David Kasprzak, Jordan Stein, and Lindsey White) and outsider librarians Megan and Rick Prelinger as expanded studio visits will focus on the Bay Area and link to Latitudes's current research around the carbon cycle.
You can follow the tours via Kadist's Instagram as part of the 'Artist not at the Studio, Curator not at the Office' Latitudes' takeover, and as a series of posts that will be published on this channel.
In the afternoon of August 29, Latitudes will co-host a 'Near-Future Artworlds Curatorial Disruption Foresight Group', a workshop which extends the seminar recently developed in May for the International Curatorial Retreat in Bari, Italy.
The 'Near-Future Artworlds Curatorial Disruption Foresight Group' is a forum for informal dialogue about megatrends and the future of contemporary art institutions.
In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the first meeting broadly addressed to what degree the organizational forms of art institutions are embracing or resisting similar transformations through various curatorial/editorial prototypes and prognosticative use-case scenarios.
Convened by the Barcelona-based curatorial office Latitudes together with Kadist Art Foundation, this second meeting will bring together individuals and expertise in the Bay Area with an active interest in institutional prototyping and emergent usership. With an emphasis on cross-pollination between design thinking and curatorial thinking, the meeting will discuss, among other things, the notion of the post-disciplinary, and the question of appropriate speeds or periodicities of institutions.
In order to be conducive to freedom of interaction, the meeting is held under the Chatham House Rule. This allows participants to express personal views, to listen, reflect and gather insights with a clear distinction from the position of their employers and/or the policies of any associated organization. Participation is expected, but there will be no resolutions issued, no votes undertaken, and no policy statements proposed.
RELATED CONTENT:
Tutors of the 2015 International Curatorial Retreat, 9–13 May, Bari (Italy) 17 May 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)
Latitudes' Open Day at Spring Workshop on 2 February 2013 (9 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
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Art and ecology exhibition and conference at Nottingham Contemporary
Thu, Jan 8 2015
Home page of Nottingham Contemporary.
Nottingham Contemporary continues their fantastic programme with an ambitious show centered on art and ecology. Ringing in the new year, 'Rights of Nature. Art and Ecology in the Americas' sets out expose how the "European idea of human mastery of the planet was imposed on the Americas. In contrast, new forms of resistance are inspired by, and linked to, indigenous cultures that see themselves as part of an ecological continuum. 'Rights of Nature...' will deliver a strong focus on the Amazon, the Andes, the Arctic and the Gulf of Mexico and is curated by TJ Demos and Alex Farquharson (Artistic Director, Nottingham Contemporary) with Irene Aristizábal (Head of Exhibitions at Nottingham Contemporary).
One of the chosen press images for the exhibition is Minerva Cuevas' 2007 'Serie Hidrocarburos', which we selected back in 2008 for the cover of the catalogue of the exhibition 'Greenwashing. Environment: Promises, Perils and Perplexities' (29 February–18 May 2008) that we co-curated with Ilaria Bonacossa at the Fondazione Sandretto Re Rebaudengo. In Turin, Cuevas' 2004 'Egalité' was displayed alongside another 'Rights of Nature' participant Amy Balkin who is also presenting her ongoing 'Public Smog' (2004–ongoing) project.
Front and back cover of the exhibition catalogue 'Greenwashing. Environment: Promises, Perils and Perplexities'.
Section of the catalogue dedicated to Minerva Cuevas's 'Egalité' (2004).
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Related Content:
Minerva Cuevas's 2012 'Incidents of Travel' tour around Plaza de las Tres Culturas
in Tlatelolco, Tepito and Lagunilla neighbourhoods, and the Torre Latinoamericana. Photos of this and the other four artist' tours here.
Where to find the publications edited by Latitudes? (22 April 2012)
Art&Co Nº1, 'El arte después de la ecología' por Max Andrews (23 January 2008)
Art&Co Nº1, 'El arte después de la ecología' por Max Andrews (23 January 2008)
'Greenwashing' in Artforum Critics’ Picks (18 April 2008)
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Art&Co Nº1, 'El arte después de la ecología' por Max Andrews
Wed, Jan 23 2008
Max Andrews, 'El arte después de la ecología' / 'Art after Environmentalism', Art&Co, Número 1, Invierno 2008 / Number 1, Winter 2008, pp.28-32 & 116-118 (English translation). Descargar pdf aquí (3.7MB)
Revista trimestral editada por la Asociación Amigos de ARCO.
Directora Editorial: Ángela Molina
Contacto: [email protected]
Números anteriores: http://www.arco.ifema.es (véase menú 'Publicaciones')
Amy Balkin: Public Smog
Thu, Oct 19 2006"Public Smog is part of an ongoing conceptual artwork by San Francisco-based artist, Amy Balkin. The project consists of a gesture in which the artist buys and withholds carbon gas emission credits from international trading markets in order to create a temporary clean-air park. Aiming to highlight the complexities and contradictions of current environmental protocols, Balkin will attempt to submit an application to qualify the entire atmosphere as a UNESCO World Heritage Site."
From http://www.cca.rca.ac.uk/publicsmog/
Curated by MA Curating Contemporary Art students at the Royal College of Art
1 — 7 November 2006, 12noon — 6pm, Private View 1 November, 6 — 9pm
Peer, 99 Hoxton Street, London N1 6QL, UK
Amy presents a print version of This is The Public Domain in the Latitudes' edited publication LAND, ART: A Cultural Ecology Handbook
Amy Balkin
From http://www.cca.rca.ac.uk/publicsmog/
Curated by MA Curating Contemporary Art students at the Royal College of Art
1 — 7 November 2006, 12noon — 6pm, Private View 1 November, 6 — 9pm
Peer, 99 Hoxton Street, London N1 6QL, UK
Amy presents a print version of This is The Public Domain in the Latitudes' edited publication LAND, ART: A Cultural Ecology Handbook