SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid
Wed, Feb 5 2025
Laia Estruch performing “Crol (Moll)” (2019) at the Pisicines Municipals de Montjuïc, part of her solo exhibition “Laia Estruch: Crol”, Espai13, Fundació Joan Miró, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega.
SAVE THE DATE
“Laia Estruch. HELLO EVERYONE”
26 February–1 September 2025
Museo Reina Sofía, Madrid
Opening: 25 February 2025, 8pm
Curated by Latitudes
Latitudes is thrilled to announce the opening of “HELLO EVERYONE”, a solo exhibition dedicated to the work of Catalan artist Laia Estruch (Barcelona, 1981).
Over the last fifteen years, Estruch has produced a consistently personal body of work that treats the human voice as a material reality—an expressive force and a medium expelled from the body. Her work has spanned ancestral poetry and post-punk music but has increasingly moved beyond the performance of spoken or sung words, and towards a sonic language that explores raw communicative effects, body consciousness and non-human agency. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. This process has evolved in tandem with creating often monumental sculptural settings for each of her vocal projects, resulting in steel slides, inflatable buoys or giant net traps, for example. These have become surrogate bodies in themselves, as well as temporary dramatic stages and interpretive scores for creating scenes and routines that the artist has termed vocal “rehearsals”.
“HELLO EVERYONE” takes the form of a fragmentary and vociferous archive spanning live events, sculpture, audio installation, moving images, graphic works and visual scores. This ambitious exhibition acts as a living-and-breathing storage that reconfigures a body of work, as well as works-as-bodies and spans the breadth of Estruch’s artistic research to date while engaging with her history as a performer. Forming a fluid relationship between active and inactive modes of presentation, and questioning the conventions of displaying and performing artworks, “HELLO EVERYONE” explores the sense and sincerity of verbal expression and the agency of the female voice.
Laia Estruch performing “GANIVET” (2020) at the Fundació Joan Brossa, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Daniel Cao.
A publication accompanying the exhibition will offer the first comprehensive monograph dedicated to the artist’s work. Designed by her longtime collaborator Ariadna Serrahima (Oficina del Disseny) and published by the Museo Reina Sofía, it will include a new text by artist Sharon Hayes (Estruch’s former professor at The Cooper Union) reflecting on performance pedagogy; the essay “Voice-Body-Sculpture” by Latitudes, the exhibition curators, which offers the first in-depth overview of Estruch’s practice; and a conversation between the artist and Marc Navarro, who curated Estruch’s 2019 exhibition at Espai 13, Fundació Miró. The monograph will be available in Spring 2025 in Spanish and English editions.
“HELLO EVERYONE” will take place on the fourth floor of the museum’s Sabatini building, and run concurrently with exhibitions dedicated to Huguette Caland (19 February-25 August 2025) and Naufus Ramírez-Figueroa (28 May-20 October 2025), amongst others. It will also coincide with several events programmed in Madrid around the 44th edition of ARCOmadrid art fair (5–9 March 2025).
ABOUT LAIA ESTRUCH
Laia Estruch (Barcelona, 1981) has had solo exhibitions at the Museu Nacional d'Art de Catalunya, Barcelona (2023); Spiritvessel, Espinavessa (2022); Fundació Joan Brossa, Barcelona (2020); Capella de Sant Roc, Valls (2019); and at Espai 13, Fundació Joan Miró, Barcelona (2019).
Recent group exhibitions include “After Paradise”, Kortrijk Triennial, Belgium (2024); “Topalekuak”, Tabakalera, Donostia (2024); Patio by ZONAMACO, ABC Art Baja, San José del Cabo, Mexico (2024); “I drank words submerged in dreams”, 23 Bienal de Arte Paiz, Guatemala (2023); “After the Mediterranean”, Hauser & Wirth, Menorca (2023); “Panorama 21. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona (2021) and “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020).
Estruch has performed in numerous public events within the framework of exhibitions, biennials and festivals, including “Segar i cantar”, Lo Pati, Amposta (2024); “The Listening Affect”, Galeria da Biodiversidade, Porto (2023); “Passat / Present”, Centre d’Interpretació d’Art Rupestre de la Roca dels Moros del Cogul, Lleida (2022); 10th Deleste Festival, Bombas Gens, Valencia (2022); “The Journeying Stream”, TBA21, Sotos de la Albolafia, Córdoba (2022), Bianyal 2021, Vall de Bianya (2021) or “Plataforma. Festival de Artes Performativas”, Parque de Bonaval, Santiago de Compostela (2021), amongst other.
In 2022 Estruch won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) with the work “Zócalo”, and was awarded the 2021 Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
Works in public space include “Moat-2 / Playground Scene” (2017–18) at Fabra i Coats Fàbrica de Creació, Barcelona; and the recently completed Concomitentes public commission “Aguas Vivas”, at Llanos de Penagos, Cantabria (2024).
Estruch has a BA in Fine Arts from the Universitat de Barcelona (2010) and studied Performance Art and Sound Art at The Cooper Union, New York (2010). She regularly lectures at the Facultat de Belles Arts, Universitat de Barcelona.
Her work is represented by Galería Ehrhardt Flórez, Madrid.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including the inaugural Panorama triennial “Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d’Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COL·LAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was the Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció at the Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes has curated the exhibition “Jorge Satorre. Ria” currently on view at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid) until August 31, 2025.
https://www.lttds.org
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir River in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
- Podcast, “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969)
Fri, Nov 1 2024
November 2024 cover story on www.lttds.org
NEW MONTH
NEW MONTHLY COVER STORY
The November 2024 monthly Cover Story “Frequent Flyers: Robert Smithson’s ‘Aerial Art,’ 1969” is now up on Latitudes’ homepage (after November 2024 it will be archived here). Cover Stories are published monthly featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to Latitudes’ curatorial projects and activities.
Max Andrews was commissioned to contribute an essay on a work by Robert Smithson (1938–1973) for the Holt/Smithson Foundation’s Scholarly Text Program.
Max chose to write on Smithson’s text “Aerial Art” published in Studio International in February 1969. In the essay, Smithson presented proposals developed for Dallas-Fort Worth Regional Airport in 1966–67, in collaboration with Tippetts—Abbett—McCarthy—Stratton Architects and Engineers. His proposals envisioned extensive earthworks to be installed between the runways, created by himself, Carl Andre, Robert Morris, and Sol LeWitt.
The Scholarly Text Program regularly commissions thinkers from various disciplines to write 1,200 words on single artworks by Nancy Holt and/or Robert Smithson. These essays explore how Holt and Smithson’s ideas resonate through contemporary artistic and cultural production, covering topics ranging from geology to ecology, poetry, and beyond.
Read Mariana Cánepa Luna’s recently published essay on Nancy Holt’s site-responsive installation “Ventilation System” (1985–1992) also part of the Scholarly Text Programme’s Chapter 7.
Thank you to Lisa Le Feuvre, Executive Director of the Holt/Smithson Foundation, for the kind invitation to contribute to the foundation’s growing archive, and to William T. Carson, Program Manager and Assistant Curator, for the research assistance.
Abstract:
Max Andrews’ essay delves into Robert Smithson's seminal article "Aerial Art" (1969), which outlines his earthworks proposals for the Dallas-Fort Worth Regional Airport and those of Carl Andre, Robert Morris, and Sol LeWitt. Andrews examines the historical context, including the growth of air travel and global art networks. Importantly, the essay underscores the sustained multi-decade increase in CO2 emissions from air travel and its significant contribution to the climate crisis.
Keywords:
Robert Smithson, Aerial Art, 1969, Studio International, Artforum, Anthropocene, Charles Jencks, postmodernism, Dallas-Fort Worth Regional Airport, Tippetts–Abbett–McCarthy–Stratton, earthworks, Carl Andre, Robert Morris, and Sol LeWitt, site-specificity, Boing 747, Spiral Jetty, CO2 emissions, frequent flying, transnational art world, contemporary art, decarbonization, exhibition-making, curatorial hypermobility, Harald Szeemann, air travel, global mobility, low-carbon footprint art production, multinational museum brands, biennial model, Fernand Braudel, Gustav Metzger, Reduce Art Flights, Paris Agreement, 2030, global warming.
How to cite:
Andrews, Max, “Frequent Flyers: Robert Smithson’s “Aerial Art,” 1969”, Holt/Smithson Foundation: Scholarly Texts Chapter 7 (October 2024). ISBN: 978-1-952603-36-5
→ RELATED CONTENT:
- Other writing
- Looking back – Visiting Robert Smithson's “Spiral Jetty” (1970) on 7 September 2004, 7 Sep 2014
- Publication “Robert Smithson: Art in Continual Movement” (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Robert Smithson's “Broken Circle/Spiral Hill Revisited” (1971–2011) and The Land Art Contemporary programme, 14 September 2011
- Archive of Monthly Cover Stories
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
- Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024
- Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023
- Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”
Sun, Jan 22 2023
"Futuros abundantes" / "Abundant Futures" is co-published by TBA21 and Turner, 2023. Photos by Enrico Fiorese.
The exhibition catalogue “Futuros Abundantes / Abundant Futures” is now available. The book will be launched in ARCOmadrid’s section of ArtsLibris, on February 23rd, 2023, at 5pm.
With contributions from Rosemary-Claire Collard, Jessica Dempsey and Juanita Sundberg; Beatrice Forchini; Macarena Gómez-Barris; Berta Gutiérrez Casaos; Soledad Gutiérrez Rodríguez; Latitudes; Regina de Miguel; Plata; Matthew Ritchie; Jess Saxby; and Daniela Zyman. Poems by Ibn Zaydun and an artistic intervention by Abraham Cruzvillegas.
Hardcover, 16,5 x 24 cm
Spanish / English, 336 pages
Edited by Daniela Zyman and Eva Ebersberger
Book design by Matteo Guarnaccia
Publisher Editorial Turner
ISBN 978-84-18895-65-4
EUR 25
Miguel Covarrubias, “The Tree of Modern Art planted 60 Years Ago” [El árbol del arte moderno plantado hace 60 años], plantado hace 60 años], in Vanity Fair, vol. XL, n.º 3, New York, May 1933, pp. 36-37.
Edited by Daniela Zyman and Eva Ebersberger, and co-published with Editorial Turner in the context of the exhibition “Abundant Futures. Works from the TBA21 Collection” curated by Zyman, the show was co-organised by TBA21 and C3A Centro de Creación Contemporánea de Andalucía in Córdoba.
The 336-page book includes Latitudes’ newly commissioned essay titled “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories], which delves into how we might turn the page on the pseudo-organic root-and-branch diagrams that have underpinned the cultural narratives of the archetypical institutions of twentieth-century art, and instead consider an entity that has been largely neglected in its capacity to connect human and natural relations: soil.
The essay is published in Spanish. Below is an excerpt in English:
“Thinking and building a new logic outside of the dualism of humanity on the one hand and nature on the other necessitates new narratives, new grammar, new relational strategies, and such new explanatory figurations. History in this alternative perspective is a history where human activity has always been meshed and mulched in the web of life. Following a sense of both humanity-in-nature and nature-in-humanity, we could imagine an art history and way of making exhibitions that is both outside in and inside out.
We could better imagine a shared vocabulary—terms that easily move back and forth between aesthetic and non-aesthetic uses. And we could give more attention to categories that, like soil, already seem to refuse a distinction between cultural forms and other forms of lived experience. The present and the future likewise require reconstructing and refreshing the theoretical model of the whole genre of the exhibition, its possibilities, and conditions. Allowing a wider and deeper sense of image- and object-making lineages could create new conditions for abundance, tackling the damaging split still left between the humanities and the natural world, and the imprint that this rift has left on the institutions of knowledge which allowed art history and artistic practices to be considered an alternative order to the forces and objects of the web of life. What we then might find is not a universal and singular structure, not a unitary tree of modernity, but countless very specific perspectives, practices, systems, temporalities, and imaginations in varying states of composition as well as decomposition, active as well as lying fallow.”
Essay keywords: Ecology, Daniel D. Richter, environmental art histories, Art History, abundance, temporalities of soil, “human forcing”, Environmental collapse, exhibition-making, Dipesh Chakrabarty, diagrams, Earth system, Miguel Covarrubias, Alfred H. Barr Jr., MoMA, tree genealogy, Porphyrian trees, environmental history, rewilding art history, María Puig de la Bellacasa, Jason W. Moore, Web of Life, soil, landscape, farming, agricultural intensification, Aldo Leopold, “to think like a mountain”, Julie Cruikshank, soil-attentive ethos, humanity-in-nature, nature-in-humanity, Caroline Levine, overlapping rhythms of art institutions.
→ RELATED CONTENT:
- Latitudes’ writing – exhibition reviews, artist profiles, interviews, catalogue essays, features and opinions.
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir river in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Group exhibition “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, Bordeaux, France, 29 June 2017–7 January 2018;
- Lecture “Curating in the web of life” in Garage Museum of Contemporary Art, Moscow, 28 October 2019;
- Video of Latitudes' lecture “Curating in the Web of Life” at Garage Museum of Contemporary Art, Moscow, 4 December 2019;
- Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
- Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
- Film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and tour, April–October 2008
Cover Story – April 2021: Lara Almarcegui at La Panera
Fri, Apr 2 2021
April 2021 cover story on www.lttds.org
The April 2021 monthly Cover Story ‘Lara Almarcegui at La Panera’ is now up on our homepage: www.lttds.org
“Latitudes participated in a roundtable and wrote the exhibition text for Lara Almarcegui’s ‘Graves’ (Gravels), currently on view at the Centre d'art la Panera, Lleida, until 30 May. “What possibilities begin to emerge when the excavation at a quarry is stopped?”, the text wonders.”
→ After April 2021 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
- 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021
- Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
- Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
- 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
- Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
- Report from Urdaibai: commission series ‘Sense and Sustainability’, Urdaibai Arte 2012 22 July 2012
- Launch of the monograph ‘Lara Almarcegui. Projects 1995–2010’, edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008, 28 Mayo 2008
- Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden
Mon, Sep 16 2019
Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.
‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’
—Max Andrews
The exhibition is on view until November 24, 2019.
Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.
→ RELATED CONTENTS:
- Latitudes' writing archive.
- Essay for the publication ‘Rasmus Nilausen. Soups & Symptoms. Paintings 2011–16’, Ajuntament de Barcelona (2016).
- Publication spreads with photographs by Roberto Ruiz.
- Publication launch, 26 October 2016.
- ‘Thinking like a drainage basin’ essay by Latitudes in the catalogue of the exhibition ‘Lara Almarcegui. Béton’ 8 April 2019.
- "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe 19 February 2018
- Curators: ‘Compositions’, Barcelona Gallery Weekend, various locations, Barcelona, 1–4 October 2015.
- Photos of the intervention "Vera Icon" by Rasmus Nilausen and Pere Llobera at the former house of a priest, Gardens of La Central Bookstore. Part of "Composiciones" a series of artists’ commissions for the Barcelona Gallery Weekend, 1–4 October 2015. Curated by Latitudes.
11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
Tue, Jun 25 2019
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’
Sat, Jun 1 2019
Latitudes' homepage www.lttds.org
The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org
“Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”
—> Continue reading
—> After May 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 2019: Buenos Aires in Parallel 1 May 2019
- Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair 22 April 2019
- Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
- Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 201
Essay: ‘Thinking like a drainage basin’ in the catalogue of the exhibition ‘Lara Almarcegui. Béton’
Mon, Apr 8 2019
(Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.
Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.
In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?”[1] She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’
‘Lara Almarcegui. Béton’
April 2019, 48 pages, 24 x 17 cm
Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann.
French/English
Published by Silvana Editoriale
March 2019
Edited by CAIRN centre d'art
ISBN 9788836640904
Purchase here for 10 Euros.
RELATED CONTENT:
- Writing archive on Latitudes' website;
- Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
- Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
- Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
- art-agenda review of Frieze week 2018 15 October 2018.
- Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018
"The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe
Mon, Feb 19 2018
Exhibition poster of "Altid Mange Problemer" at Kunsthal Charlottenborg, Copenhagen, Summer 2017. Photo: Latitudes.
The 280-page bilingual Danish/English monograph will be launched on March 2, 2018, at 4:30pm, in Kunsthal Charlottenborg's Apollo Kantine, though it will become available for online orders from February 26.
In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:
(...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."
In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.
Max has previously written on John's work for the catalogue of his 2006 exhibition "Problems" at Victoria Miro Gallery in London.
(Above and following): Photos: Finn Wergel Dahlgren. Courtesy Roulotte Russe.
In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:
(...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."
In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.
(Above and following): Photos by Latitudes.
Latitudes' first visit to Copenhagen also involved Kørner's work, as we visited his solo show 'ARoS Bank' at the ARoS Århus Kunstmuseum, Denmark (13 June–10 September 2006), which became the subject of our first blog post over a decade ago, in September 2006 (!).
RELATED CONTENT:
RELATED CONTENT:
- Latitudes' writing archive
- Latitudes' "out of office" 2016–2017 season 1 August 2017
- Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017 21 July 2017
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016
- '2006 Problems' exhibition and publication by John Kørner, Victoria Miro Gallery, London 29 November 2006
- Copenhagen trip. 'Woman with 24 problems' by John Kørner 30 September 2006
Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017
Fri, Jul 21 2017
Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings by Christopher Knowles. The publication was made to accompany his recent solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel.
Max reviewed Knowles’ exhibition at Gavin Brown's enterprise for frieze magazine back in October 2004, and his work "Untitled (Alert Paintings)" (2004) depicting the Department of
Homeland Security’s Threat Advisory System, was the linchpin of the Latitudes-curated 2007 exhibition "Extraordinary Rendition" at NoguerasBlanchard.
The exquisite short-run publication (500 copies) was designed and printed by Barcelona-based independent publishers and Riso printers Do The Print.
All photos: Latitudes.
Christopher Knowles was born in New York City, USA, in 1959. Lives and works in New York. He has taken part in several exhibitions, among which: 'In a Word', Institute of Contemporary Art, Philadelphia, USA, curated by Anthony Elms and Hilton Als (2015); 'Secret Codes', Galeria Luisa Strina, São Paulo (2014); 'The Sundance Kid is Beautiful', The Louvre Museum, Paris, France, 2013; 'Merci Mercy', 980 Madison Avenue, New York (2013); 'Ecstatic Alphabets/Heaps of Language', MoMA, New York (2012); 'En el primer cercle', Fundació Antoni Tàpies, Barcelona (2011); 'Poor. Old. Tired. Horse', Institute of Contemporary Arts, London (2009); 'Visions of the Frontier', curated by Robert Wilson, Institut Valencia d’Art Modern (2009); 'Glossolalia: Languages of Drawing', Museum of Modern Art, New York (2008); 'Get Lost: Artists Map Downtown New York', New Museum Project, New York (2007); 'Learn to Read', Tate Modern, London (2007); 'Extraordinary Rendition', NoguerasBlanchard, Barcelona (2007).
Knowles' is represented by NoguerasBlanchard, Barcelona / Madrid; Gavin Brown's enterprise, New York / Rome; and Office Baroque in Brussels.
RELATED CONTENT:
- "Extraordinary Rendition" exhibition at NoguerasBlanchard in 2007.
- Latitudes' writing since 2005.