New publication: “Things Things Say” (2021) now available
Mon, Feb 28 2022
Photos: Latitudes
Texts by: Joana Hurtado Matheu, Latitudes and Eulàlia Rovira
Edited and coordinated by: Latitudes and Fabra i Coats: Centre d'Art Contemporani
Publisher: Ajuntament de Barcelona. Institut de Cultura de Barcelona / Fabra i Coats: Centre d'Art Contemporani
Graphic design: Bendita Gloria
Format: 16 x 11cm, hardcover, 180 pages
Language: Catalan with Spanish & English translations
ISBN: 978-84-9156-386-0
Date of Publication: December 2021
Price: 10 Euros
Availability: Llibreria Laie, Fabra i Coats: Centre d'Art Contemporani, Sala Ciutat of the Ajuntament de Barcelona and Diputació de Barcelona bookstore.
The publication of the exhibition ‘Things Things Say’ is finally out! The show was curated by Latitudes at Fabra i Coats: Centre d'Art Contemporani between October 2020 and January 2021.
Designed by Bendita Gloria, the volume includes a preface by art centre director Joana Hurtado Matheu, new texts by exhibition curators, a text-based intervention by participating artist Eulàlia Rovira, and texts on each exhibited work.
Latitudes’ text “And Another Thing...” comprises a series of responses to the 33 questions that confronted visitors and took the place of the conventional introductory wall text. The responses variously take the form of quotations, historical references, anecdotes, and theoretical snippets that often do not provide direct answers but instead further expand on the research and imaginary of the exhibition.
(Above and two below) Stills from ‘A Knot Which is Not’ (2020–21) by Eulàlia Rovira. Video, 12'21''. Courtesy of the artist.
Rovira was also invited to produce new work in response to the exhibition. Resulting in the performance for the camera “A Knot Which is Not” (2020–21), the work summarises her research around the narratives and stories emerging from the industrial complex where the show took place, once dedicated to the manufacturing of cotton thread. “A Knot Which is Not” premiered online once the exhibition concluded and the exhibition galleries were empty. And finally, she contributed a text to the publication based on her research leading to the making of the film weaving its spoken words into the printed lines of the physical page.
(Above and below) View of the exhibition “Things Things Say” at Fabra i Coats: Centre d'Art Contemporani de Barcelona, October 2020–January 2021. Photos: Eva Carasol.
“Coses que les coses diuen” [Things Things Say] accompanies the homonymous exhibition curated by Latitudes that took place at Fabra i Coats: Centre d'Art Contemporani between October 2020 and January 2021, presenting works by Adrià Julià, Annette Kelm, James N. Kienitz Wilkins, Sarah Ortmeyer, Eulàlia Rovira, Francesc Serra i Dimas, Stuart Whipps, Haegue Yang, as well as meaningful things from the Friends of Fabra i Coats archive.
→ RELATED CONTENT:
- ‘Things Things Say’ in social networks;
- Premiere del vídeo “A knot which is not” [Un nus que no ho és] (2020–21) de Eulàlia Rovira, 15 febrero 2021
- Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 11 January 2021
- Trailer and photo documentation of the exhibition ‘Things Things Say’, 4 Nov 2020
- 6 de noviembre, 17:45h: Proyección ‘Popcorn’ [Palomita] (90', 2012) de Adrià Julià en el Zumzeig Cinema, 29 Oct 2020
- e-flux – Fall 2020 exhibitions and programs at Fabra i Coats: Contemporary Art Centre of Barcelona, 17 October 2020
- Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021, 9 Oct 2020
2021 in eleven monthly cover stories
Fri, Dec 31 2021Since Spring 2015, Latitudes has published a monthly cover story on its homepage www.lttds.org featuring past, present or forthcoming projects, as well as ongoing research, texts, artworks, exhibitions, films, objects, or travel related to our curatorial practice. Here's how 2021 looked like on our homepage.
Cover Story–May 2021: RAF goes viral, 2 May 2021
Cover Story–June 2021: Fitness food: Salim Bayri's Amsterdam, 31 May 2021.
Cover Story, July–August 2021: A wide view from a fixed point, 1 July 2021.
Cover Story–September 2021: Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre
Cover Story–October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
Cover Story–November 2021: Notes for an Eye Fire, 2 Nov 2021
Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- 2019 in 10 monthly Cover Stories, 23 Dec 2019
- 2020 in 11 monthly Cover Stories, 28 Dec 2020
Cover Story–January 2021: ‘Things Things Say’: ‘VIP's Union’
Fri, Jan 1 2021
Latitudes' homepage www.lttds.org
The January 2021 monthly Cover Story ‘Things Things Say’: ‘VIP's Union’ is now up on our homepage: www.lttds.org
“People and things write mutual biographies. A folding chair from the studio of artist Ignasi Aballí and a wooden chair from the kitchen of PAAC President Montserrat Moliner sit around a table designed by teacher Lluís Vallvé Cordomí. How are things with you?”
→ After January 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
- Cover Story—December 2020: ‘Things Things Say’: This Action Lies’, 1 Dec 2020
- Cover Story—November 2020: ‘Things Things Say’: Stuart Whipps’, 1 Nov 2020
- Cover Story—October 2020: Incidents (of Travel) Cabo Rojo, Puerto Rico, 2 Oct 2020
- Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’, 1 Sept 2020
- Cover Story—August 2020: ‘Màquina possible’: going viral at Can Balaguer, 1 Aug 2020
- Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi, 1 Jul 2020
- Cover Story—June 2020: Mataró Chauffeur Service, since 2010, 1 June 2020
- Cover Story—May 2020: Panama, back through the lens, 4 May 2020
- Cover Story—March-April 2020: The Bolós Cabinet, 3 March 2020
- Cover Story—February 2020: Carioca Incidents, 3 February 2020
- Cover Story—January 2020: Safeguarding Gestures, 2 January 2020
Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021
Fri, Oct 9 2020
The group show ‘Things Things Say’ (Coses que les coses diuen) and the solo exhibition ‘Tone Tongue Mouth’ (‘to llengua boca’) by Dutch artist Wendelien van Oldenborgh open concurrently at Fabra i Coats: Centre d’Art Contemporani de Barcelona on Saturday 17 October 2020 from 12 pm.
‘Things Things Say’
Fabra i Coats: Centre d’Art Contemporani de Barcelona
17 October 2020 – 17 January 2021
Curated by Latitudes
An exhibition with works by Adrià Julià (1974, lives in Barcelona and Bergen), Annette Kelm (1975, lives in Berlin), James N. Kienitz Wilkins (1983, lives in New York), Sarah Ortmeyer (1980, lives in Vienna), Eulàlia Rovira (1985, lives in Barcelona), Francesc Serra i Dimas (1877–1967, Barcelona), Stuart Whipps (1979, lives in Birmingham), Haegue Yang (1971, lives in Berlin and Seoul), as well as meaningful things from the Friends of Fabra i Coats archive.
Do you trust things to write human history? Do things’ lives matter? Can a pebble destroy an empire if the emperor chokes at dinner? Would the pebble stand accused? Do you really think that if you stare at something long enough, it will reveal its secrets? Have you ever wondered why there is a hole in a donut? Did you ever own a pair of dungarees? Does a desire to write about a small car indicate some fear of its inadequacy? Does popcorn hold firm opinions? Is the key key? Are you familiar with the Luddites? Have you heard the expressions “how long is a piece of string?”, or “exceptional typical”?
The exhibition ‘Things Things Say’ springs from the past of Fabra i Coats as an industrial complex once dedicated to the manufacturing of cotton thread. The factory represented the first merger between a Catalan company and a foreign multinational and the first in Spain to offer its workers paid holidays. The exhibition evokes this novel and curious kind of place, a place comprised of many places and people, vastly different scales, temporalities, and values. Things, and spectres of things, that might at first seem exceptionally normal, apparently obsolete, or inert, each bring often-extraordinary stories or offer telling evidence, temporarily becoming new protagonists in the art centre community.
In the setting of the bygone factory, the works in the exhibition introduce a perspective on how the modern world has been shaped through complex and contentious relationships between humans and the web of life. Taking on the popular XVIII century genre of the ‘it-narrative’ in English literature and the approach of ‘object journalism’ against a background of world history and ecology, ‘Things Things Say’ and the exhibition ‘4.543 billion. The Matter of Matter’ (CAPC musée d’art contemporain de Bordeaux, 2017–18) are imagined as a diptych: two folds with the same hinge that tacks back-and-forth between deep time and microhistory, natural history and the history of capitalism.
Fabra i Coats: Contemporary Art Center of Barcelona
c. Sant Adrià 20
08030 Barcelona
(+34) 932 566 155
[email protected]
https://www.barcelona.cat/fabraicoats/centredart
Opening hours:
Tuesday to Saturdays, 12 to 8 pm
Sunday and Holidays, 11 to 3 pm
Free guided tours every Saturday at 18 pm and Sundays at 12:30 pm
Limited capacity. Pre-registration at [email protected]
→ RELATED CONTENT:
‘Things Things Say’
Fabra i Coats: Centre d’Art Contemporani de Barcelona
17 October 2020 – 17 January 2021
Curated by Latitudes
An exhibition with works by Adrià Julià (1974, lives in Barcelona and Bergen), Annette Kelm (1975, lives in Berlin), James N. Kienitz Wilkins (1983, lives in New York), Sarah Ortmeyer (1980, lives in Vienna), Eulàlia Rovira (1985, lives in Barcelona), Francesc Serra i Dimas (1877–1967, Barcelona), Stuart Whipps (1979, lives in Birmingham), Haegue Yang (1971, lives in Berlin and Seoul), as well as meaningful things from the Friends of Fabra i Coats archive.
Do you trust things to write human history? Do things’ lives matter? Can a pebble destroy an empire if the emperor chokes at dinner? Would the pebble stand accused? Do you really think that if you stare at something long enough, it will reveal its secrets? Have you ever wondered why there is a hole in a donut? Did you ever own a pair of dungarees? Does a desire to write about a small car indicate some fear of its inadequacy? Does popcorn hold firm opinions? Is the key key? Are you familiar with the Luddites? Have you heard the expressions “how long is a piece of string?”, or “exceptional typical”?
The exhibition ‘Things Things Say’ springs from the past of Fabra i Coats as an industrial complex once dedicated to the manufacturing of cotton thread. The factory represented the first merger between a Catalan company and a foreign multinational and the first in Spain to offer its workers paid holidays. The exhibition evokes this novel and curious kind of place, a place comprised of many places and people, vastly different scales, temporalities, and values. Things, and spectres of things, that might at first seem exceptionally normal, apparently obsolete, or inert, each bring often-extraordinary stories or offer telling evidence, temporarily becoming new protagonists in the art centre community.
In the setting of the bygone factory, the works in the exhibition introduce a perspective on how the modern world has been shaped through complex and contentious relationships between humans and the web of life. Taking on the popular XVIII century genre of the ‘it-narrative’ in English literature and the approach of ‘object journalism’ against a background of world history and ecology, ‘Things Things Say’ and the exhibition ‘4.543 billion. The Matter of Matter’ (CAPC musée d’art contemporain de Bordeaux, 2017–18) are imagined as a diptych: two folds with the same hinge that tacks back-and-forth between deep time and microhistory, natural history and the history of capitalism.
Fabra i Coats: Contemporary Art Center of Barcelona
c. Sant Adrià 20
08030 Barcelona
(+34) 932 566 155
[email protected]
https://www.barcelona.cat/fabraicoats/centredart
Opening hours:
Tuesday to Saturdays, 12 to 8 pm
Sunday and Holidays, 11 to 3 pm
Free guided tours every Saturday at 18 pm and Sundays at 12:30 pm
Limited capacity. Pre-registration at [email protected]
→ RELATED CONTENT:
- Save the date: 19 September 2018 at 7 pm, opening Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani de Barcelona - Fabra i Coats 3 September 2018
- Photo report: Trip to Berlin Gallery Weekend 2018 and Cologne 9 May 2018
- Works by Stuart Whipps in the exhibition ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain de Bordeaux, 2017–18.
- Work by Stuart Whipps at the Musée des Beaux-Arts, Bordeaux
- Work and performance by Eulàlia Rovira and Adrian Schindler included in ‘Cream Cheese and Pretty Ribbons!’, Galerie Martin Janda, Vienna, 2018.
- Latitudes in conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017.
- Tote by Haegue Yang for Latitudes' 10º anniversary, 2015.
- Work by Sarah Ortmeyer in the exhibition 'Exposition internationale des arts décoratifs et industriels modernes & des arts et techniques dans la vie moderne', Meessen de Clercq, Brussels, 2011.
- Work by Haegue Yang in the exhibition ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’, Arnolfini, Bristol, 2009.
Report: Liverpool Biennial 2018 "Beautiful world, where are you?" in photos
Wed, Oct 17 2018
Banu Cennetoğlu's "The List" in Great George Street.
The Liverpool Biennial 2018: Beautiful world, where are you? (14 July–28 October 2018) presented the work of over 40 artists in locations across Liverpool including public spaces, civic buildings and the city’s leading art venues: Blackburne House, Bluecoat, FACT, Open Eye Gallery, Liverpool John Moores University’s Exhibition Research Lab, Liverpool Metropolitan Cathedral, the Oratory, the Playhouse theatre, RIBA North – National Architecture Centre, St George’s Hall, Tate Liverpool, Victoria Gallery & Museum (University of Liverpool), public spaces and online.
The 2018 edition was curated by Kitty Scott (Carol and Morton Rapp Curator, Modern and Contemporary Art at the Art Gallery of Ontario) and Sally Tallant (Director, Liverpool Biennial) with the Liverpool Biennial team.
The following texts are from the Liverpool Biennial website. All photos by Latitudes.
Above and below. Banu Cennetoğlu's "The List" on a 280-metre hoarding on Liverpool's Great George Street.
Compiled and updated each year by UNITED for Intercultural Action, an anti-discrimination network of 550 organisations in 48 countries, "The List" traces information relating to the deaths of more than 34,000 refugees and migrants who have lost their lives within, or on the borders of Europe since 1993. Since 2007, in collaboration with art workers and institutions, Banu Cennetoğlu has facilitated up-to-date and translated versions of "The List" using public spaces such as billboards, transport networks, and newspapers. An updated edition of The List is presented on Great George Street in Liverpool and can be accessed online at guardian.co.uk. Copies of "The List", which were distributed by The Guardian newspaper on World Refugee Day on 20 June, are also available at exhibition venues.
Mathias Poledna at The Oratory.
Screened within a specially designed structure, Mathias Poledna’s new film "Indifference" (2018) further advances his exploration of modernity’s visual imaginary. The work is set against the backdrop of early 20th-century European history, a period of traumatic modernisation and conflict.
Suki Seokyeong Kang at Bluecoat.
Conceived as a visual translation of the Korean musical notation ‘Jeongganbo’, Land Sand Strand is a new multi-part installation by Suki Seokyeong Kang. The work transforms the exhibition space into a grid. Building on the concept of the hwamunseok – a traditional Korean woven mat, interpreted as the minimum space provided for each individual in society – it is activated by performers and the audience. The choreography, inspired by the Spring Oriole Dance and traditionally performed on the hwamunseok, is shared with visitors. The movements on the mat serve as the blueprint for the wider installation consisting of painting, sculpture and video.
Brian Jungen at Tate Liverpool.
Brian Jungen carves ‘feathers’ from the soles of Nike trainers to create a series of sculptures that resemble Cheyenne-style war bonnets. These headdresses, familiar from countless Westerns, address a long history of conflict and the lingering effects of colonisation. They signify the strength and pride of indigenous people today.
Duane Linklater at Tate Liverpool.
The sculptural works of Duane Linklater consider the notions of cultural loss, social amnesia and identity from the perspective of the indigenous peoples in Canada. Commenting on the economy of the fur trade, they suggest that animals, even in death, might retain their spirits or selfhood beyond the value they possess as commodities.
Haegue Yang at Tate Liverpool.
Haegue Yang presented her sculpture series "The Intermediates" (2015-ongoing) in Tate Liverpool's Wolfson Gallery. Made from artificial woven straw, The Intermediates allude to both traditional arts and crafts techniques and modern industrial production methods. Representing figures and sites from folk tales and ancient traditions, they question definitions of ‘paganism’. Yang’s environment for these works includes recordings of wildlife taken from the British Library’s sound collection, a wallpaper juxtaposing pagan traditions and modern history, and suspended ribbons that evoke folk traditions such as maypole dancing. Her multisensory, hybrid environments suggest fleeting connotations of time, place, figures and experiences that connect ‘folk’ traditions and contemporary culture.
Not as part of the biennial programming, but this conversation coincided with our visit.
The White Pube's Zarina Muhammad and Gabrielle de la Puente were in conversation with Tate Liverpool's new director Helen Legg about their origins as "embodied art critics", their practice and the challenges art criticism presents today.
Aslan Gaisumov at St George’s Hall.
Tracing the struggles and turbulent histories of the Chechen people, Aslan Gaisumov’s most recent work Keicheyuhea (2017) follows the artist’s grandmother as she returns to her lost homeland in the mountainous scenery of the North Caucasus for the first time since the displacement of her family 73 years earlier.
Naeem Mohaiemen at the St George’s Hall.
Screened in the courtroom at St George’s Hall is "Two Meetings and a Funeral" (2017), a three-channel film by Naeem Mohaiemen – currently nominated for the Turner Prize 2018. The work revisits the Cold War-era power struggles between the political coalitions of the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). The project navigates alliances of convenience made during Bangladesh’s fight for UN recognition, as well as parallel decolonisation struggles in Palestine-Israel, the Portuguese colonies and South Africa.
Francis Alÿs presents a selection of postcard-size paintings from the 1980s to today under the title Age Piece. Executed in the tradition of classic à plein air painting, these works allude to the condition of global tourism in the contemporary art scene. Many of the paintings were done while scouting new locations for future film projects, often in conflict zones such as Israel and Palestine, Afghanistan and Iraq.
Taus Makhacheva has created a ruin-like sculptural installation that serves as a spa, in collaboration with artist Alexander Kutovoi. The installation incorporates ASMR (Autonomous Sensory Meridian Response) techniques and video.
At the Victoria Gallery & Museum. Part of "Worlds within worlds" section.
Display of the Brendel Plant Models of World Museum anatomical models of plants, made for display and teaching purposes by the Berlin firm of R Brendel & Co in Germany around the turn of the 20th century.
Francis Alÿs' paintings at the Victoria Gallery & Museum.
Francis Alÿs presents a selection of postcard-size paintings from the 1980s to today under the title Age Piece. Executed in the tradition of classic à plein air painting, these works allude to the condition of global tourism in the contemporary art scene. Many of the paintings were done while scouting new locations for future film projects, often in conflict zones such as Israel and Palestine, Afghanistan and Iraq.
Liverpool Metropolitan Cathedral Plateau.
Five bench-like sculptures can be found on the plateau behind the Liverpool Metropolitan Cathedral. For this new commission, Ryan Gander dissected a model of architect Frederick Gibberd’s modernist cathedral into a series of simple ‘building blocks’. The blocks were then reassembled into different configurations by schoolchildren from Liverpool: Jamie Clark, Phoebe Edwards, Tianna Mehta, Maisie Williams and Joshua Yates. The maquettes that Gander and the children created have been reproduced on a larger scale to produce this new public seating arrangement within the cathedral grounds. This presentation is part of a larger project, Time Moves Quickly.
John James Audubon at the Central Library.
One of the only 120 complete edition copies of The Birds of America by John James Audubon at the Central Library. The 19th-century book contains exquisite illustrations of a wide variety of birds of the United States.
Paul Elliman's work at the Exhibition Research Lab.
Paul Elliman presents the "Vauxhall Astra 2020", the forthcoming and newest model of a car available since 1979 when General Motors launched the Vauxhall/Opel Astra, now the only car produced at Ellesmere Port. The Astra 2020 is offered as a constellation of raw materials, half-a-dozen boulders and rock-like lumps of the car’s constituent parts at original scale, made of steel (iron ore), glass, plastic, aluminium, rubber, and electrical components.
Above and below, Resilience Garden in Granby Street, Toxteth.
Mohamed Bourouissa has created a garden working with local people, gardeners, school pupils, teachers and artists. The artist was inspired by a garden made by a patient of the psychoanalyst and writer Frantz Fanon at the Blida-Joinville Psychiatric Hospital in Blida, Algeria. Fanon’s patient created the garden as occupational therapy, reflecting the organisation of his mental space through its structure. Bourouissa researched and learned the patient’s approach to botany, architecture, and therapy in order to create a similar garden in Liverpool. The garden has been conceived as a space of ‘resilience’. Some of the plants are native to Algeria and others have healing effects. A film documenting the garden and its evolution are presented at FACT.
 |
| Very close to Bourouissa's Resilience Garden is Assemble's ongoing project at Granby's Street.
Assemble's ceramic workshop in Granby Street, "a manufacturer of architectural ceramics, based in Liverpool and established in 2015. The workshop is part of Assemble's ongoing involvement with the Granby Four Streets neighbourhood."
|
Work by Taus Makhacheva at Blackburne House.
RELATED CONTENT:
- Report from Athens: "AGORA", 4th Athens Biennale 2013 4 November 2013
- (Post 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013 9 June 2013
- (Part 2/3) "The Encyclopedic Palace", 55th Venice Biennale in tote bags 14 June 2013
- (Post 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013 17 June 2013
- Manifesta 9, "The Deep of the Modern", Genk, Belgium, 2 June – 30 September 2012 in pictures and seen by the critics 12 June 2012
- dOCUMENTA (13) in pictures & as seen by the critics, 9 June–16 September 2012 12 June 2012
Photo report: Trip to Berlin Gallery Weekend 2018 and Cologne
Wed, May 9 2018
(Above) Detail from the K, inaugural show dedicated to exploring the work of East German designer and exhibition-maker Klaus Wittkugel. K, A Year with P. Krishnamurthy on Ebersstrasse 3 (Schöneberg) is a workshop for exhibition-making led by designer, curator, writer and educator Prem Krishnamurthy, co-director of the multidisciplinary design Wkshps, which extends his previous exhibition space and ‘mom-and-pop’ P! based in New York between 2012-2017. The project is organised in collaboration with KW Institute for Contemporary Art. All photos: Latitudes.
(Above and below) Claudia Comte's ‘When Dinosaurs Ruled the Earth’ at König Galerie's St Agnes, Berlin.
(Above) ‘ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS’ at the Julia Stoschek Collection.
(Above) Loris Gréaud at Max Hetzler.
(Above and below) Lawrence Weiner and Manfred Pernice in the old/new venue of Konrad Fischer Galerie, Berlin.
(Above and below) Nevin Aladağ's ‘Mustrop’ exhibition at Wentrup, Berlin.
(Above) Andro Wekua at Spruth Magers. The gallery concurrently presented exhibitions by Senga Nengudi and Kara Walker.
(Above and below) Views of the exhibition ‘Neolithic Childhood. Art in a False Present, c. 1930’ at Haus der Kulturen der Welt.
(Above and two below) View of ‘Hello World. Revising a Collection’ in the central nave Hamburger Bahnhof – Museum für Gegenwart, Berlin.
(Above and below) Becky Beasley's ‘Depressive Alcoholic Mother’ show at Galeria Plan B.
(Above and below) Haegue Yang's installation ‘Silo of Silence – Clicked Core’ in the Boiler House space at KINDL - Centre for Contemporary Art in Berlin’s Neukölln district.
Berlin skyline from KINDL's second floor.
(Above and below) ‘Defying Gravity’ exhibition by Swiss artists Taiyo Onorato and Nico Krebs occupying the two floors of the Maschinenhaus (Power House) at KINDL - Centre for Contemporary Art, gathering photographs, 16mm films, sculptures and new installations from the past decade.
4h train to Cologne. The 2017 edition of "KölnSkulptur #9" titled ‘La fin de Babylone’ added new works by Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar and Pedro Wirz to the existing collection; and was curated by Chus Martínez. Above and following seven photos.
(Above and below) ‘Pumping Station’ (2017) by Teresa Solar.
(Above) ‘The Nordic Cactuses’ (2017) by Claudia Comte.
(Above) Michael Sailstorfer (helicopter) and Mark di Suvero.
(Above) ‘Untitled’ (2017) by Solange Pessoa.
(Above and below) ‘Schale’ (2017) by Andrea Büttner.
(Above) ‘Pagliaccio non son’ (2011) by Jimmie Durham.
(Above) ‘Garten’ (1997–1999) by Peter Fischli and David Weiss.
(Above and below) View of ‘Games of Decentralized Life’ exhibition by Simon Denny at Galerie Buchholz, Cologne, around Bitcoin and other cryptocurrencies.
(Above and below) View of the exhibition ‘The Superman’ by Alex da Corte on view the at Kölnischer Kunstverein.
(Above) Beautiful 1950s architecture of the Kölnischer Kunstverein.
(Above and following) View of Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig in Cologne. In this room ‘Series of Vulnerable Arrangements’ are displayed alongside ‘Seven Basel Lights’ and ‘Medicine Men’.
(Above) ‘Mountains of Encounter’ and ‘Sol Lewitt Upside Down — K123456. Expanded 1078 Times. Doubled and Mirrored’.
(Above) Installation ‘5, Rue Saint-Benoît’.
(Above) View of the first solo exhibition ‘ DAS – IST — DAS?’ in Germany by Ana Jotta at Temporary Gallery, Cologne. Curated by Regina Barunke and Miguel Wandschneider.
RELATED CONTENT
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018) archived on Wakelet.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017. 18 April 2017.
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, (23–24 November 2016) and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016.
- Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich 11 November 2012;
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012;
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Photo report and Storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);
- 'Incidents of Travel' Hong Kong, 7 January–10 February 2013.
Latitudes' "out of office" 2016–2017 season
Tue, Aug 1 2017
Downtime for physical and mental "reparations" begins.
Photos: Latitudes (except where noted otherwise).
It's the end of the 2016–17 season, at last. Following a Latitudes' tradition we mark the summer downtime with an "out of office" post (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16 ones) with a series of "behind the scenes" and "making of" moments from the year gone by. Here are some glimpses of the past season, from September 2016 to July 2017.
We'll be back in September 2017, when we'll be leading a residency programme at Banff Centre in the Canadian Rockies!
15 September 2016: The 2016–17 season started with glitter and sparkle as Antoni Hervàs' "The Mystery of Caviria" exhibition opened in La Capella. The eight chapters of his complex scenario revolved around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The spectacular scenography took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Taking this fragment, Hervàs explored the transformist and genre-bending possibilities of drawing, a medium that enabled him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene. Photos of the exhibition here.
Toni's exhibition was the focus of the September and November Cover Story series on our home page, archived here.
Photos above: Latitudes and Toni Hervàs.
18 September 2016: More sparkle awaited on the former site of the Copacabana club and nearby frontón court. The former is currently a parking lot used by the Department of Culture of the Catalan Government. The lone castanets master Juan de la Cruz el Rosillo interpreted a moving repertoire of popular Spanish coplas. For the second part of the event, the audience walked a few meters up Las Ramblas towards the frontón, where Gerard López, Senior Spanish Champion in male rhythmic gymnastics, interpreted newly-commissioned choreography with specially-produced music by Norman Bambi, while wearing a Hervàs-designed garment (exhibited as part of his exhibition).
20 September 2016: Just as we are catching our breath from the memorable exhibition opening and the first event related to Toni's exhibition, street banners popped up around the city announcing the second Barcelona Gallery Weekend.
26–28 September 2016: Installation of "Composiciones" projects, five site-specific commissions for the second iteration of the Barcelona Gallery Weekend. Three days of intense preparations! Curated by Latitudes for the second time (see 2015 edition), the project further explored Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous.
Above and below: Lola Lasurt at the Biblioteca Pública Arús.
(Above) Lúa and Mariana admiring the serendipitous finding of "El espejo equivocado" painting at the Club Billar Barcelona. An almost spooky, yet incredibly fitting find.
(Above) With Rafel Bianchi and Gina Giménez unpacking Gina's works and spreading them around the former textile factory Can Trinxet, L’Hospitalet de Llobregat.
Testing the resistance of a pair of Levi's jeans in preparation for Wilfredo Prieto "Pantalones Rotos" at the Mounted Unit of the Barcelona City Police.
29 September–2 October 2016: Opening and guided visits around the five "Composiciones" interventions by Lúa Coderch (at the Club Billar Barcelona); Regina Giménez (at the former textile factory Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (at the Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (at the Mounted Unit of the Barcelona City Police) in unique sites across the neighbourhoods of the city. Their projects offered moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Archive of social networks posts. Photographs here.
Archive of social networks posts. Photographs here.
Guided tour by Lúa Coderch in her intervention at the Club Billar Barcelona.
Guided tour by Gina Giménez to ARCOwalks group in Can Trinxet.
Interviewed for the radio at the Mounted Unit of the Barcelona City Police.
TV presenter Josep Paris modelled Robert Llimós' 1972 updated runners design during the weekly cultural TV programme Àrtic. Photo: Àrtic.
Double spread on "Composiciones" in the cultural supplement "Tendències" by the national newspaper El Mundo. Photo: Vanessa Graell.
26 October 2016: Launch of Rasmus Nilausen book "Soups & Symptoms" at Múltiplos, which includes an essay by Max Andrews. For the event, Rasmus and Max served up a carrot soup (potage crécy) and requested questions from friends, family and collaborators which would be accepted as long as they fitted onto Jacob's Cream cracker.
The catalogue was produced thanks to the funding from Premi Art Nou 2015, Art Barcelona, Associació de Galeries d’Art Contemporani in collaboration with the Institut de Cultura de Barcelona, García Galeria (Madrid) and Estrany de la Mota (Barcelona). It can be purchased in La Central.
Max and Rasmus prepare the carrots for a large pot of Potage Crécy, questions are written on Jacob's Cream crackers (that will later accompany the soup) and book launch at Múltiplos.
3 November 2016: Runway show at La Capella with some costumes from the 1980s and 90s designed by actor and impresario Victor Guerrero. Part of the activities programmed on the occasion of the exhibition.
Photos: Latitudes.
8 November 2016: Mariana Cánepa Luna's review on Ana Jotta's exhibition published on art-agenda, focused on "her ongoing series 'Notas de rodapé' [Footnotes] [which] provide a key to understanding the semantic complexity of her work. It comprises a selection of the eclectic bits and pieces which Jotta has gathered for decades and that coexist in her studio alongside works that she has fabricated." Continue reading
18–20 November 2016: Attended the CIMAM 2016 Annual Conference hosted in several venues in Barcelona, and hosted by the Museu d’Art Contemporani de Barcelona (MACBA) and CaixaForum, focusing on ‘The Museum and its Responsibilities’.
Mariana holding the CIMAM 2016 Annual Conference programme.
CIMAM 2016 Annual Conference speakers and delegates at the Fundació Tàpies, Barcelona. Photo: CIMAM.
Selfie from Museum Nacional d'Art de Catalunya with Portuguese curator Miguel Amado.
23-24 November 2016: Latitudes participated in a two-day summit "You are such a curator!" organised by the Curatorial Programme of De Appel, Amsterdam. With contributions by Mira Asriningtyas, Lucrezia Calabro Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Ariane Loze, Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme, Huib Haye van der Werf, and others. We took the opportunity to extend our stay on the occasion of the Amsterdam Art Weekend 2016, which included the opening of Jordan Wolfson's at the Stedelijk and the Open Studios at the Rijksakademie.
Latitudes' presentation "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in Summer 2017.
→ Full report here.
Photos: Carina Erdmann/De Appel.
November-December 2016: Two of Latitudes' projects ("Composiciones" commissions for the Barcelona Gallery Weekend and "El misterio de Caviria" by Antoni Hervàs) are shortlisted for the best exhibition of the year by the TV culture programme Tria33. The audience casts their votes online until January. Antoni Hervàs won with 40% of the audience votes. "Composiciones" ends in the third position with 17% of the votes.
January 2017: Issue of frieze magazines includes Max Andrews' "Salon Selectives" text in the Opinion section, discussing "How open are open calls?":
"While competition organizers typically trumpet the volume and cosmopolitanism of applications received an ebullient endorsement, others may rue the sheer amount of collectively wasted effort made by the also-rans. (In Spain, Bilbao-based studio Taller de Casquería estimated that the hours involved in the 1,715 submissions received for the Guggenheim Helsinki open call for designs represented over €18 million worth of speculative work.) In Gary Hustwit’s 2011 documentary film, Urbanized, Rem Koolhaas stated that such competitions were a ‘complete drain of intelligence’, inviting mass creative thinking with the guarantee that the vast majority of it will be discarded. This addiction in the field of architecture appears to be gaining traction in contemporary art as a means not only of generating exhibitions but of programming institutions."
The text was the January Cover Story on our website.
16 February 2017: A moving evening seeing Toni Hervàs receive the Premi Ciutat de Barcelona for visual arts exhibition of the year at the Sala de Consell de Cent in the Barcelona City Hall. The jury recognised "the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality."
Toni receiving the award from Barcelona mayor Ada Colau. Photos: Latitudes.
1 March 2017: Launch of the fourth 'Incidents (of Travel)' episode, in which Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha in Lisbon. Their offline day took place in early December and went through key locations in the artist's life – from Ar.Co, the School of Visual Arts in Almada where she enrolled at age thirty-seven, to the Largo da Academia de Belas Artes in Chiado, where she conceived a public project that never materialised.
→ Project website.
Above: captures from the project website.
2 March 2017: Opening of Joana Hurtado Matheu's "Nostalgic Dissidence" exhibition mentored by Latitudes as part of the Barcelona Producció 2016 season. Repairs and conservation work in the Baroque cupola had delayed the opening by three months, so we were all pleased the day finally arrived.
Working on the exhibition layout.
Francesco Arena's "Mare della tranquillità" (2013) is activated by a performer. "An old wooden table, taken from the family dining room, has been cut into four pieces to form the corners of a much bigger new table. Enlarged with inserts of metal, its size evokes the table on which, on May 7, 1945, the signing of the German surrender ended World War II in Europe. The work is the support for a participative action which consists of walking back and forth on the five-metre table a total of 155 km, the length of the Berlin Wall. Every day during the two months of the exhibition someone will get up on the table and, wearing shoes that have never touched the ground and holding a tally counter, walk from one end to the other 596 times." (exhibition wall label by the curator)
Photos: Pep Herrero/La Capella and Marc Llibre Roig.
January 2017: The artist Alexandra Navratil pots an image of the work she will present in the forthcoming exhibition "4.543 billion" due to open June 29 at the CAPC musée in Bordeaux.
22–24 March 2017: Third trip to Bordeaux. Packed with meetings. Three months to go to the opening of "4.543 billion" exhibition. In two weeks deadline to submit the texts for the gallery guide.
Running through each work through our sketch up exhibition rendering with the curatorial, collections, registrar, press and installation teams.
23 March 2017: Meanwhile in Barcelona, Toni Hervàs wins yet another award – for the best exhibition of the year, and given by the Catalan Association of Art Critics.
Hervàs during the award ceremony. Photo: ACCA.
April 2017: A bit of a website refresh – these things are so darn tedious yet they feel so good when they are done and dusted!
26 April 2017: Fifth 'Incidents (of Travel)' episode online narrating the encounter between curator Simon Soon and artist Chi Too. Their offline day took place in April 2016, when they visited the Malaysian state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, housebuilders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."
'Incidents (of Travel)' is a chartered day-long itinerary as an alternative to the standard studio-visit, inviting an extended conversation between a curator and an artist. Previous destinations have included Chicago, US; Jinja, Uganda; Suzhou, China; and Lisbon, Portugal. Produced by Kadist; photographs and video by Awang Ketut; site built by The Present Group.
Above: captures from the project website.
3 May 2017: Conversation with Korean-born, Berlin-based artist Haegue Yang at the Fundació Tàpies, Barcelona. The evening discussion analysed Yang's practice from the perspective of historical development and cyclic fluctuations, asked, as phrased by sociologist and economist Giovanni Arrighi – what is accumulative, what is cyclical, what is new?
Photos: Fundació Han Nefkens.
May 2017: After three intense weeks of the jury process, eighteen selected projects of Barcelona Producció 2017 grant scheme are announced. We begin the year-long mentoring process of three projects out of the seventeen selected projects this year as part of the Barcelona Producció 2017 production grants. David Mutiloa's SYNTHESIS (18 July–25 September 2017) is first to occupy La Capella's 15th-century exhibition space. The other two projects mentored by Latitudes are a publication by Anna Moreno and an exhibition "Artengo2000" at the small exhibition space by Camille Orny and Magda Vaz.
Jury searching for a solid wifi spot to watch video documentation sent by an applicant.
12 June 2017, in Basel: 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 of Christopher Knowles. The publication is made to accompany his solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. The exquisite short-run publication is designed and printed by Barcelona-based independent publishers and Riso printers Do The Print. Read on.
Photos: Latitudes
12 June, in Barcelona: Following the announcement of the awardees of the 2017–18 season of Barcelona Producció production grants, we visit David Mutiloa's temporary studio in Hangar. Mutiloa is the first artist to open the season and his exhibition "SYNTHESIS" will take place in the central nave of La Capella from July 18.
"Using sculpture, video projections and human presence, David Mutiloa’s exhibition Synthesis proposes that this condition has led to the appearance of pharmacologically managed depression, “an illness of responsibility”. It has also induced a terrible form of boredom – the spectre of both the boundless outsourcing of undesirable labour to the developing world and automation leading to a world without work. – Text from the gallery guide, written by Latitudes (pdf here).
→ Short video of the exhibition.
Photos: Latitudes
→ Press release here.
→ Archive of social media posts
Lucy Skaer's 26 coal and resin sculptures after Brancusi's 26 different editions of "Bird in Space".
Deciding the layout of Félix Arnaudin's incredible suite of photographs kindly lent by the Musée d'Aquitaine Bordeaux.
Photovoltaic panels charging the batteries that power Nicholas Mangan's double video projection "Ancient Lights" (2015).
Anne Garde's photos documenting Richard Serra's "Threats of Hell" (1990) production from Dillinger Hütter (Germany) to its exhibition at the CAPC nave, to its current location at a private collector home on the banks of the Garonne, where it changed its name to a happier "Hopes of Paradise".
Part of the CAPC installation team having a coffee break enjoying Stéphane's awesome chocolate cake.
Rayyane Tabet's mobile pieces arriving from Hamburg at the CAPC.
Registrar thick checklist file.
François measuring Lara Almarcegui's works before placing them on the wall.
Construction of the warehouse and jetty. Statements of works by engineer and architect Claude Deschamps.
Christophe moving the 600kg rock by Hubert Duprat to the entrance.
Pascal lighting the exhibition.
Christina Hemauer and Roman Keller stretching their new work "Untitled (Blue)" (2017), a work focused on indigo and colonial trade.
Christina Hemauer and Terence Gower listening to Pep Vidal explaining his sculpture work "19-metre tree cut in 7 equal volumes" (2015).
One of the many guided visits for press, staff, friends of the museum during the opening days. Photo: Latitudes/RK.
Christina Hemauer and Terence Gower listening to Pep Vidal explaining his sculpture work "19-metre tree cut in 7 equal volumes" (2015). 
11–14 July 2017: Installation of "SYNTHESIS" in La Capella. David Mutiloa's solo exhibition is the first of the 2017–18 season of Barcelona Producció. Opening on July 18, on view until September 25.
"In the modern office workplace, spatial design and brand communication have evolved in step with novel notions of management, business efficiency and a labour market that progressively favours flexibility and adaptability. The typical Western office worker – their physiology as well as their psychology – has also been overhauled. Twentieth-century time-and-motion studies first standardised and rationalised the salaried worker’s time and space. And today the twenty-first-century worker is increasingly a co-working independent contractor who navigates an entirely dissolved working-week structure, continuous competitive ‘disruption’ and the so-called ‘gig economy’." – Text by Latitudes from the exhibition sheet.
Scheme to help assemble the platform.
Artist at work.
24–26 July 2017: Trip to Copenhagen to visit the impressive solo exhibition by John Kørner, "Altid Mange Problemer" at Kunsthal Charlottenborg, curated by Marie Nipper—the largest exhibition of his works to date. Max Andrews of Latitudes has been invited to contribute an essay for his forthcoming monograph published by Roulette Russe which is due to come out in November 2017. Max has previously written on John's work for his 2006 exhibition "Problems" at Victoria Miro Gallery in London. Our first visit to Copenhagen to see John's work was precisely the subject of our first blog post in September 2006!
Everything in Copenhagen seemed to have turned yellow – we knew John's love for the colour (first image below), but also Mark Leckey's exhibition at the x-room of the Statens Museum fur Kunst, seemed to have been inspired by "the Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen.
(Above) Mark Leckey's exhibition ‘He Thrusts his fists against the posts but still insists he sees the ghosts’ recreated the ramps underneath the M53 motorway bridge in Ellesmere Port.
Example of the "Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen.
(Above) Taller de Arquitectura studio. (Below) Walden7 in Sant Just Desvern (Barcelona).
Anna Moreno walking around Walden7 in Sant Just Desvern (Barcelona).
At the time of writing, we are frantically preparing for what will be an intense September. On September 10 we'll travel to Banff, where Latitudes will be Lead Faculty of the month-long residency programme "Geologic Time" at the Banff Centre for Arts and Creativity which will bring together 10 curators/artists/writers from around the world to discuss geological formations and timescales while speculating about a more expansive and longer-term view of art, exhibitions, and their institutions. We will be “thinking with” geology (beyond the depiction of the landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art.
Julius Schoppe (1795–1868), “Illustration of giant stone near the Rauenschen Mountains near Fürstenwalde”, c. 1827. Public domain – Wikimedia Commons.
RELATED CONTENT:
- Latitudes' "out of office" 2015–16 season, 1 August 2016
- Latitudes' "out of office" 2014–15 season, 7 August 2015
- Latitudes' "out of office" 2013–14 season, 31 July 2014
- Latitudes' "out of office" 2012–13 season, 31 July 2013
- Latitudes' "out of office" 2011–12 season, 31 July 2012
- Latitudes' "out of office" 2010–11 season, 1 August 2011
- Latitudes' "out of office" 2009–10 season, 30 July 2010
- Latitudes' "out of office" 2008-9 season, 30 July 2009
Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h
Tue, Apr 18 2017
Miércoles 3 de mayo, 19:30h.
Actividad gratuita. Aforo limitado.
Reservas: [email protected]
Auditorio, Fundació Antoni Tàpies
c/ Aragó 255, 08007 Barcelona
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.
Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.
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.
(Arriba y abajo) Instalación 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion' (2012) de Haegue Yang, comisariada por Julienne Lorz en Haus der Kunst, Munich. Foto: Latitudes.
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. 
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(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.
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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.
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| 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.
'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.
- 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.
30% off Latitudes' tote bag limited editions
Fri, Dec 2 2016
In Spring 2015 Latitudes launched a limited edition of tote bags to mark its 10th anniversary. These four specially commissioned silkscreened tote bags feature designs by four artists with whom Latitudes has collaborated over the past decade: Lawrence Weiner (New York, 1942), Haegue Yang (Seoul, 1971), Ignasi Aballí (Barcelona, 1958) and Mariana Castillo Deball (Mexico City, 1975).
We are now offering a 30% discount, a special sale price of 35 Euros per tote (+shipping) valid throughout December 2016 (usually €50 + shipping).
Edition: 35 + 5 A.P. (Haegue Yang's tote is ed. 20 + 10 AP)
Measurements: 38 high × 40 width × 14 base (in cm)
Fabric: 475 gsm natural chlorine-free cotton canvas
Strap: Adjustable Capacity: 15 litres
Weight: 420 gr aprox.
Each bag is made from natural durable cotton canvas with a reinforced base. They feature a press-stud closure, an internal pocket with a zip (never loose your keys again!), an adjustable shoulder strap, as well as smaller handles for carrying like a briefcase.
Each bag have been hand silkscreened in Print Workers, Barcelona; this is an artisanal process and each printing results in slight variations.
Place your order(s) from our website. Here some nice pics of our happy customers with their totes:
Related content:
- Latitudes' 4th anniversary (April 2009)
- Newsletter #22 – April 2010
- It's our 10th anniversary! (22 May 2015)
- Latitudes' Limited Edition Totes
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)"
Mon, Aug 24 2015
We are delighted that from August 24 (and until October 24), Latitudes' limited edition tote bags by Lawrence Weiner, Haegue Yang, Ignasi Aballí and Mariana Castillo Deball, will be presented in Hong Kong as part of Asia Art Archive (AAA)'s exhibition 15th anniversary programme "15 Invitations | a short history of the art book bag".
Organised by AAA Public Programmes Curator Ingrid Chu, the show explores the international phenomenon of the 'art book bag' in "a short history of the art book bag (and the things that go in them)". The exhibition features 'the things that go in them'—art publications, magazines, and related ephemera—alongside a vast array of these popular totes in the AAA Library. Chu has invited artists, curators, art book fair organisers, and print and online publishers to provide insight into the changing modes of knowledge production and circulation, and their influence on the recent art of Asia through Field Notes.
Latitudes'
totes are presented under 'Sites for Art', the first of five categories
that structure the show – others being 'Carriers of Knowledge',
'Markers of Access', 'Badges of Dissent', 'Goods of Desire'). Courtesy of Asia Art Archive.
Each Latitudes' tote is accompanied by a publication that relates to each artist: Lawrence Weiner will contain the leaflet of his 2008 exhibition at Fundació Suñol, Haegue Yang will include the publication which features an essay by Max Andrews' of Latitudes; Ignasi Aballí's tote will include his 2009 publication 'Nothing, Or Something' inside and Mariana Castillo Deball will have 'Amikejo', the exhibition catalogue of the 2011 cycle one of which presented works by Castillo Deball and Irene Kopelman.
Installation view of a short history of the art book bag (and the things that go in them) exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Zine for "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Carriers of Knowledge' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Badges of Dissent' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Goods of Desire' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
RELATED CONTENT:
Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and field trip to Hong Kong (16–20 June)
30 May 2014
A day at Hong Kong's Asia Art Archive, 31 January 2013, 8 July 2013
"Archive as Method: An Interview with Chantal Wong, Hammad Nasar and Lydia Ngai" of the Asia Art Archive, Hong Kong. Final #OpenCurating interview 1 May 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.
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