El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?

Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo. 




Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.

Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol. 

(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.

Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.

Cover of The Last Star-Ledger, issue 4 of 10 edited by Latitudes during ‘The Last Newspaper’ exhibition at the New Museum, New York, 2010.

Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013. 



Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.


CONTENIDO RELACIONADO:

• Latitudes' limited edition tote bags presented in the Asia Art Archive's exhibition "A short history of the art book bag (and the things that go in them)" 24 August 2015;
• Limited Edition Tote Bags Commemorating Latitudes' 10th Anniversary 25 May 2015;
• Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich 11 November 2012;
• Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012;
• 'THE LAST STAR-LEDGER' AVAILABLE NOW! #4 issue of the 10 Latitudes-edited newspapers for 'The Last, Newspaper' exhibition, New Museum 27 October 2010;
• Haegue Yang's 'Symmetric Inequality' (Desigualdad simétrica) exhibition catalogue, sala rekalde, Bilbao 17 December 2009;
• Catalogue essays: Henrik Håkansson, Museo Rufino Tamayo; Haegue Yang, Artsonje Center / samuso 29 septiembre 2009; 
• Installation shots of 'Sequelism...', Arnolfini, Bristol on Latitudes' website 21 July 2009; 
• Sequelism Part 3... images of the installation in progress 15 July 2009;  
• Haegue Yang at Sala Rekalde & 2009 Korean Pavilion Venice Biennale 25 December 2008.

This and following images, courtesy of Remco Torenbosch.

Book launch
"European contextualising in analytical sociology and ethnographical representation on history and present"
Tuesday 18 March, 17:30h
Library of the Fundació Tàpies
c/ Aragó 255, 08007 Barcelona
Limited seating available. Please RSVP [email protected]

Book launch and conversation between Dutch artist and publication editor Remco Torenbosch and Barcelona-based curator Max Andrews of Latitudes.

In the context of the solo exhibition "European Contextualisation" by Dutch artist Remco Torenbosch (1982, Assen) opening next Thurday 20 March, 19h at NoguerasBlanchard, the gallery has organised the book launch of his most recent publication "European contextualising in analytical sociology and ethnographical representation on history and present" (Black Dog Publishing, 2014) at the library of Fundació Tàpies. The exhibition is part of the exhibition cycle "The Story Behind", curated by Direlia Lazo.



From the artist website:  

"Originally conceived for the Council of Europe, the successful design of the flag was later adopted by the European Union in 1985 whilst under the moniker of the European Economic Community. Designed by Arsene Heitz, a French draughtsman at the CoE, and Paul Levy, a Jewish-Belgian Holocaust survivor who worked for many years as the council's Director of Information, the finalised design was presented to the CoE in 1955 at its headquarters in Strasbourg, Heitz's hometown.

This publication profiles the documents, design proposals and written correspondence between Heitz, Levy and further collaborators that would form the painstakingly diplomatic development of an iconic vexillological moment. As part of the book's research, a collection of fabric monochromes woven by weavers from all 28 member states of the EU in the base colour of the flag was compiled. These collated monochromes as such become a map themselves of the socio-economic shift within EU member communities, an embodiment of the disappearing textile industries of Europe."



Author/Editor: Remco Torenbosch
Contributors: Charles Esche, Mihnea Mircan, Council of Europe Archive
Paperback: 244 pages
Publisher: Black Dog Publishing London
ISBN-13: 978-1908966698

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(From the website) 'Organogramme is an exhibition by Ibon Aranberri that aims to sediment and confront various series of works made by the artist during the last decades together with others produced specifically for the occasion, and presented here as a unified whole.

(...) His oeuvre features aspects such as the relationship between nature and culture, the ideological projection upon the landscape, the configuration of the social, historicity, the local context and its economic and territorial dimensions, the peripheral condition as well as language and the modern project. The artist holds an interest in power structures and the mechanisms to build society. (...) The concept of the landscape as a setting of ideological projection, as a point of intersection between the natural object and the cultural subject, is an underlying issue in his work.' (+ info...)

The news broke on Saturday afternoon that Manuel J. Borja-Villel (Burriana, Castellón, 1957) will be the new Artistic Director of the Museo Nacional Centro de Arte Reina Sofía (MNCARS), and will start his new job at the end of January 2008. Borja-Villel has been Director of the Museu d'Art Contemporani Barcelona (MACBA) since 1998, and was founding director of the Fundació Tàpies (1990-1998). Despite his appointment not being a shock exactly, the news is important as it is one of the first appointments in Spain to follow the controversial 'Código de buenas prácticas' (Code of good practice) whereby there shouldn't be any more 'al dedo' ('made') appointments. Instead an international call for applications should be held, and was in this case, and appointments be made according to the decision of a selected international committee. And following each candidate's proposals and presentations, and not their political orientation.

That said, the decision to appoint the MACBA director has not been surprising for two reasons. Firstly, a few weeks ago the Spanish newspaper El País [15.11.07] announced Borja-Villel as the favourite for the job, together with a list of the top candidates. How were their names known when the process is supposedly strictly secret? Rightly, there was much discussion in the artistic community [read A-Desk and SalonKritik]. Secondly, the requirements for the job were that candidates should be a 'Spanish or national of a country member of the European Union' (appearing to rule out any Spanish-speaking Latin American candidates, or indeed any other non-European Spanish speaker, and clearly questioning the tip-off that had Dan Cameron shortlisted in the El País article). The candidates were also asked to have 'Excellent level of Spanish' and 'To present, in Spanish or anyone of the co-official languages in the Independent Communities, or English or French, the main lines of the Museum Plan for the Institution'. Spanish prefered, we get it. It makes one wonder what will be the requirements for the now vacant MACBA Director job, if they are to follow the 'código de buenas prácticas' with an open call.

One of the first responses to the appointment was from art critic and curator David G. Torres in A-Desk's blog, in which he briefly analysed the pros and cons of the mandate: Borja-Villel has put MACBA on the map – for sure – and has given a direction and coherence to its collection – again, yes – but it has lacked a dialogue with the city of Barcelona and its visitors. According to Catalina Serra [El País, 23.12.07], the Catalan arts community has already responded by demanding an international open call for the MACBA position, but with more time for the potential applicants to prepare proposals (candidates had a month to make their applications for the MNCARS job). Let's see what happens here; interesting times ahead! The news are, however, great for MNCARS, Spain's forever-in-crisis national museum, which has had no leading figure since September 2007, that lacks coherence in its collection, has a so-so programme, but of course holds a precious treasure in world history: Picasso's Guernica.

For more info read MNCARS' Press Release (Spanish) and the announcement in El País (23.12.07)