"Itinerarios transversales", tercera entrevista de la investigación #OpenCurating, con Sònia López y Anna Ramos del Museu d'Art Contemporani de Barcelona (MACBA)
Wed, Nov 28 2012
El estudio radiofónico de Ràdio Web MACBA en el Auditorio del MACBA.
La entrevista "Itinerarios transversales" con Sònia López y Anna Ramos del Museu d’Art Contemporani de Barcelona (MACBA), es la tercera en la investigación #OpenCurating – leer la primera con el equipo del Walker Art Center aquí (inglés), y la segunda con Ethel Baraona Pohl aquí (en inglés aquí).
El Museu d’Art Contemporani de Barcelona (MACBA) abrió sus puertas en el Raval de Barcelona en el 1995, aunque su fundación se remonta a 1987 cuando miembros representantes de la sociedad civil catalana y empresas privadas crean Fundación MACBA, una de las cuatro entidades que integran el Consorcio junto con la Generalitat de Catalunya, el Ayuntamiento de Barcelona y el Ministerio de Cultura. La nueva página web del museo (macba.cat), se lanzó a principios del 2012 tras un periodo de rediseño y reconceptualización, e incluye novedades como los Recorridos (permite al visitante crear itinerarios transversales seleccionando entre las cinco mil obras que componen la Colección MACBA, además de vídeos, fichas de artista, podcasts, publicaciones, etc.) y la unificación de bases de datos de la colección y el Archivo del Centro de Estudios y Documentación, entre otras muchas. Ràdio Web MACBA, el proyecto radiofónico del museo iniciado en el 2006, cuenta con su propia web rwm.macba.cat e incluye una selección de más de 250 podcasts sobre arte, filosofía, música experimental y material documental con la voluntad de fomentar una aproximación crítica a la producción sonora y el pensamiento contemporáneo.
Sònia López es la responsable de la web y las publicaciones digitales del MACBA desde el 2001. Ha participado en diversos proyectos artísticos y pedagógicos en el MACBA y otras instituciones culturales de Barcelona. Activista crafter a tiempo parcial.
Sònia López es la responsable de la web y las publicaciones digitales del MACBA desde el 2001. Ha participado en diversos proyectos artísticos y pedagógicos en el MACBA y otras instituciones culturales de Barcelona. Activista crafter a tiempo parcial.
Anna Ramos es la coordinadora del proyecto radiofónico online Ràdio Web MACBA, y co-responsable del sello ALKU, plataforma pluridisciplinar que opera desde 1997. Bajo ambos paraguas desarrolla publicaciones, proyectos, instalaciones y ciclos en torno a la música por ordenador, el audio generativo, la síntesis, el pensamiento contemporáneo y otras áreas relacionadas. Asimismo, acaba de co-editar el libro del artista danés Goodiepal, El camino del hardcore (ALKU, 2012).
El documento se puede visualizar en ISSUU, y también se puede descargar como pdf desde la web del proyecto y por de ahí leerlo en vuestro iPad (visualización optimizada para la pantalla Retina).
El documento se puede visualizar en ISSUU, y también se puede descargar como pdf desde la web del proyecto y por de ahí leerlo en vuestro iPad (visualización optimizada para la pantalla Retina).
Foto: Latitudes.
–
ACERCA DE #OPENCURATING
Partiendo de las preocupaciones exploradas por Latitudes durante el proyecto editorial realizado durante 'The Last Newspaper' (New Museum, Nueva York, 2010), y basándose en las prácticas del denominado 'periodismo abierto' (Open Journalism) – que trata de mejorar la colaboración y utilizar la habilidad de cualquier persona para publicar y compartir – #OpenCurating es un proyecto de investigación que indaga en las nuevas formas de interacción entre los públicos – sean seguidores en red o visitantes físicos – con obras de arte, su producción, exhibición y su contexto discursivo.
El proyecto se estructura a partir de tres elementos: una serie de diez entrevistas a comisarios, artistas, escritores y expertos web publicada en una edición digital gratuita (véase aquí), una discusión en Twitter moderada por el hashtag #OpenCurating y por último, un evento que tendrá lugar en Barcelona (fecha por determinar).
#OpenCurating es el proyecto ganador de la primera convocatoria BCN Producció 2012 en la categoría de investigación, otorgada por el Institut de Cultura de Barcelona.
Síguenos en Twitter: #OpenCurating
Content partners : Walker Art Center
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
La cultura en España: estadísticas, cifras y porcentajes
Tue, Nov 20 2012El Ministerio de Educación, Cultura y Deporte acaba de publicar el Anuario de Estadísticas Culturales 2012. El estudio ha sido realizado por la Subdirección General de Estadísticas y Estudios de la Secretaría General Técnica y está disponible aquí.
El estudio se estructura en tres partes: incluye estimaciones relacionadas con diferentes sectores culturales (empleo y empresas, financiación pública y privada, propiedad intelectual, comercio exterior, turismo, enseñanza y hábitos culturales), información sectorial (patrimonio, museos, archivos, bibliotecas, libro, artes escénicas, música, cine y video), y análisis del impacto de la cultura en la economía española (con indicadores sobre su aportación al Producto Interior Bruto (PIB) español).
2012, análisis, crisis, cultura, empleo, España, estadistica, recortes
Detalle de la estadística "1. EMPLEO CULTURAL". Descargar aquí.
El estudio se estructura en tres partes: incluye estimaciones relacionadas con diferentes sectores culturales (empleo y empresas, financiación pública y privada, propiedad intelectual, comercio exterior, turismo, enseñanza y hábitos culturales), información sectorial (patrimonio, museos, archivos, bibliotecas, libro, artes escénicas, música, cine y video), y análisis del impacto de la cultura en la economía española (con indicadores sobre su aportación al Producto Interior Bruto (PIB) español).
La nota de prensa resume el estudio a cinco puntos, que es lo que ha recogido la prensa (El Mundo, rtve.es, Faro de Vigo, El País (Valencia), Ara.cat...):
- El sector cultural aportó un 3,6% al Producto Interior Bruto (PIB) en 2009
- Un 19,7% de los turistas vienen a España por motivos culturales
- El empleo en el ámbito cultural ascendió en el segundo trimestre de 2012 a 452.700 personas, lo que supone un 2,6% del empleo total de nuestro país
- El gasto medio de los hogares españoles en bienes y servicios culturales fue de 828,3 euros anuales
- Escuchar música, leer e ir al cine son las actividades culturales realizadas con mayor frecuencia por la población española
- Empleo cultural
- Empresas culturales
- Financiación y gasto público en cultur
- Gasto de consumo cultural de los hogares
- Propiedad intelectual
- Comercio exterior de bienes culturales
- Turismo cultural
- Enseñanzas del ámbito cultural
- Hábitos y prácticas culturales
- Patrimonio
- Museos y Colecciones Museográficas
- Archivos
- Bibliotecas
- Libro
- Artes escénicas y musicales
- Cine y vídeo
- Cuenta Satélite de la Cultura
Allá vamos. Para los que quieran una rápido análisis de la situación, se puede descargar un "Cuadro resumen" en formato pdf aquí. En él se ofrecen cifras de las actividades comprendidas entre el 2000 hasta el 2011 en relación a cada uno de los capítulos mencionados anteriormente, desde "Empleo cultural" (con cifras según sexo, edad, nivel estudios), a "Cuenta Satélite de la Cultura" (porcentajes de la aportación al PIB y al VAB de las actividades culturales).
En lo que se refiere a las artes visuales, destacamos los porcentajes de visitas a museos, monumentos, exposiciones:
En el 2009, la cultura generó un 2,8% del PIB español, ascendiendo al 3,6% si se le suman las actividades económicas vinculadas a la propiedad intelectual. Por sectores, destaca el de Libros y Prensa con una aportación total del 1% (36,9% en el conjunto de actividades). Las artes plásticas suponen un 9,6% del PIB. Nos parece curioso que no se tengan datos del PIB en el 2010 o en el 2011, y que éste porcentaje (2,8% y 3,6% total) se mantenga estable en el 2007, 2008 y 2009.
Hay algo muy revelador en estas cifras: ponen de manifiesto (cita textual) "el significativo peso de las actividades culturales en el conjunto de la economía española, destacándose que equivale al generado en 2009 por el sector de la Energía (2,9%) y superior al de Agricultura, ganadería y pesca (2,6%)."
Y aquí el quid de la cuestión: a pesar su peso económico, la cultura recibe menos del 1% del presupuesto anual español. La mayoría de datos preceden al 2012 y por tanto no recogen la entrada en vigor del reciente aumento del IVA al 21% (desde Septiembre 2012) sobre actividades culturales como el cine y el teatro. Así que habrá que esperar a contrastar estas cifras con futuros estudios.
Más cosas: el gasto medio por persona en bienes y servicios culturales de 312,9 euros anuales (en 2006 esa cifra era de 372 euros por persona, es decir que ha dismunuido un 15% desde entonces). El cine sigue liderando encuestas, con una tasa de asistencia anual del 49,1% (de nuevo, está por ver cómo serán estas cifras el próximo año cuando sí se contará con datos sobre la repercusión del aumento IVA).
Se estima que en 2010, los 1530 museos españoles recibieron 57,492 millones de visitantes.
Expandiendo los datos aportados sobre el turismo cultural: en 2011, el 15,2% del total de viajes (13,2 millones de viajes) fueron iniciados principalmente por motivos culturales (un aumento de 2,5 puntos porcentuales respecto al 2010). En el 47,5% de los viajes realizados por residentes en España se realiza algún tipo de actividad cultural. El estudio "resalta que el 52,2% de los turistas internacionales realizan algún tipo de actividad cultural."
Más datos que se desprenden de la Encuesta de Población Activa (INE), elaborada para el Ministerio de Educación, Cultura y Deporte:
Datos del segundo trimestre de 2012 muestran que el sector cultural da trabajo a 452.700 personas, esto es el 2,6% del empleo total en España (una cifra en contínuo descenso con respecto a años anteriores: 488,7 en 2011; 508,7 en 2010; o los 544,8 en 2009). El 64,3% de los trabajadores tiene educación superior o equivalente.
Detalle del "Cuadro resumen" que se puede descargar aquí como pdf.
En lo que se refiere a las artes visuales, destacamos los porcentajes de visitas a museos, monumentos, exposiciones:
- Datos del 2003: 27,5% (visita museos), 28,8% (visita monumentos), no hay datos de visitas a exposiciones
- Datos del 2007: 31,2% (visita museos); 34,1% (visita monumentos); 24,7% (visita exposiciones)
- Datos del 2011: 30,6% (visita museos); 39,5% (visita monumentos); 25,7% (visita exposiciones)
En el 2009, la cultura generó un 2,8% del PIB español, ascendiendo al 3,6% si se le suman las actividades económicas vinculadas a la propiedad intelectual. Por sectores, destaca el de Libros y Prensa con una aportación total del 1% (36,9% en el conjunto de actividades). Las artes plásticas suponen un 9,6% del PIB. Nos parece curioso que no se tengan datos del PIB en el 2010 o en el 2011, y que éste porcentaje (2,8% y 3,6% total) se mantenga estable en el 2007, 2008 y 2009.
Detalle de la estadística "17. CUENTA SATÉLITE DE LA CULTURA". Descargar aquí.
Hay algo muy revelador en estas cifras: ponen de manifiesto (cita textual) "el significativo peso de las actividades culturales en el conjunto de la economía española, destacándose que equivale al generado en 2009 por el sector de la Energía (2,9%) y superior al de Agricultura, ganadería y pesca (2,6%)."
Y aquí el quid de la cuestión: a pesar su peso económico, la cultura recibe menos del 1% del presupuesto anual español. La mayoría de datos preceden al 2012 y por tanto no recogen la entrada en vigor del reciente aumento del IVA al 21% (desde Septiembre 2012) sobre actividades culturales como el cine y el teatro. Así que habrá que esperar a contrastar estas cifras con futuros estudios.
Más cosas: el gasto medio por persona en bienes y servicios culturales de 312,9 euros anuales (en 2006 esa cifra era de 372 euros por persona, es decir que ha dismunuido un 15% desde entonces). El cine sigue liderando encuestas, con una tasa de asistencia anual del 49,1% (de nuevo, está por ver cómo serán estas cifras el próximo año cuando sí se contará con datos sobre la repercusión del aumento IVA).
Se estima que en 2010, los 1530 museos españoles recibieron 57,492 millones de visitantes.
Expandiendo los datos aportados sobre el turismo cultural: en 2011, el 15,2% del total de viajes (13,2 millones de viajes) fueron iniciados principalmente por motivos culturales (un aumento de 2,5 puntos porcentuales respecto al 2010). En el 47,5% de los viajes realizados por residentes en España se realiza algún tipo de actividad cultural. El estudio "resalta que el 52,2% de los turistas internacionales realizan algún tipo de actividad cultural."
Más datos que se desprenden de la Encuesta de Población Activa (INE), elaborada para el Ministerio de Educación, Cultura y Deporte:
Detalle de la estadística "1. EMPLEO CULTURAL". Descargar aquí.
Paridad por sexos: de los 488,700 trabajadores del 2011, 290,900 eran hombres frente a un 197,800 que eran mujeres, reflejando lo mucho que queda por hacer en cuanto a la igualdad de género en el mercado laboral.
Más datos curiosos sobre el empleo en el 2012: el 17,6% desarrolló su actividad a tiempo parcial. El 72,3% son asalariados frente a un 27,7% no asalariados, de los cuales 54,7% tiene contrato indefinido y 17,6% un contrato temporal – de lo cual se deduce que hay un 27,7% restante sin contrato (?).
Para quien se quiera entretener más, se pueden consultar los gráficos correspondientes a los 17 capítulos del Anuario de Estadísticas Culturales 2012 (desde Empleo Cultural a Cuenta Satélite de la Cultura).
Más datos curiosos sobre el empleo en el 2012: el 17,6% desarrolló su actividad a tiempo parcial. El 72,3% son asalariados frente a un 27,7% no asalariados, de los cuales 54,7% tiene contrato indefinido y 17,6% un contrato temporal – de lo cual se deduce que hay un 27,7% restante sin contrato (?).
Para quien se quiera entretener más, se pueden consultar los gráficos correspondientes a los 17 capítulos del Anuario de Estadísticas Culturales 2012 (desde Empleo Cultural a Cuenta Satélite de la Cultura).
Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich
Sun, Nov 11 2012Her installation 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion', organised by Haus der Kunst curator Julienne Lorz, and related to her dOCUMENTA 13 contribution, "consists of Venetian blinds suspended from the ceiling. These elements are structured in three autonomous, yet united parts: A massive towering structure, which is confrontationally located at the hall's entrance; a flat vertical grid wall, and a voluminous rectangle on top, which is gradually fragmented toward the floor. Depending on the angle of approach, the blinds overlap in a varying number of layers, and the interplay of light and shadow changes depending on the location. At times, the installation appears completely opaque, and at others, completely translucent." (text from the website).
On view until 22 September 2013. More info and photos here.
Also on view at Haus der Kunst is the much awaited 'Ends of the Earth – Land Art to 1974' (until 20 January 2013) organised in collaboration with The Museum of Contemporary Art, Los Angeles (MOCA – see website of the exhibition). The show is notable for its careful and thoroughly-researched reconsideration of the idea of Land art, and the way in which it incorporates many artists outside of the usual American white male practicioners associated with the term. (And also through its inclusion of three part-reconstructions of seminal exhibitions/projects: "Earthworks" at Virginia Dwan Gallery, Willoughby Sharp's "Earth Art" as well as Gerry Schum's "Fernsehgalerie Land Art" ). Unfortunately, this is its only iteration on its European tour.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
"Der Öffentlichkeit – Von den Freunden Haus der Kunst", begins on November 9
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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As announced in May,
this installation is the first in a series of commissioned work that
will be exhibited in the museum's 800 square-meter Middle Hall over a
period of one year. The series, "Der Öffentlichkeit – Von den Freunden
Haus der Kunst", begins on November 9.
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"Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion", 2012.
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Photodocumentation of Latitudes' "Incidents of Travel: México DF" a project for Casa del Lago
Thu, Nov 1 2012
As the Casa del Lago exhibition in Mexico City draws to a close (on Sunday 4th November), we would like to share photodocumentation of the "Incidents of Travel: México City" project.
Artists Minerva Cuevas, Tania Pérez Córdova, Diego Berruecos, Terence Gower and Jerónimo Hagerman were invited to develop day-long tours for Latitudes, articulating the city and their artistic practice through routes and waypoints in the metropolitan area. Documented and mapped in La Sucursal space alongside an overview presentation of Latitudes' projects ("Proyectos 2005–2012"), the project aims to explore the chartered itinerary as a format of artistic encounter with the capacity to bypass the convention of the studio visit through highly specific views of the city.
Artists Minerva Cuevas, Tania Pérez Córdova, Diego Berruecos, Terence Gower and Jerónimo Hagerman were invited to develop day-long tours for Latitudes, articulating the city and their artistic practice through routes and waypoints in the metropolitan area. Documented and mapped in La Sucursal space alongside an overview presentation of Latitudes' projects ("Proyectos 2005–2012"), the project aims to explore the chartered itinerary as a format of artistic encounter with the capacity to bypass the convention of the studio visit through highly specific views of the city.
Photos: Eunice Adorno & Latitudes
Photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Max Andrews reviews 'Utopia is possible' in frieze magazine's October 2012 issue
Tue, Oct 30 2012Below Max Andrews' frieze review on the exhibition 'Utopia is possible. ICSID. Eivissa, 1971' currently on show (on view until 20 January 2013) at the Museu d'Art Contemporani de Barcelona (MACBA). An interesting follow up is Ethel Baraona Pohl's review on Domus (published 15 October 2012) which is accompanied by a lot more photodocumentation presented in the exhibition.
‘This will be an ICSID Congress only 10 metres from the sea,’ read the welcoming Bulletin of the Seventh Congress of the International Council of Societies of Industrial Design in 1971. ‘The environment, the climate and the sea bathing will act as a stimulant to the general business of the Congress.’ As 1,500 delegates registered at the ziggurat-like hotel venue in northern Ibiza, the more adventurous made their way to Instant City, an inflatable camp below on Sant Miquel bay. Three days of meetings, debates, performances and partying were to follow –a professional design conference that was also a beach-side experiment in leisure and the creative potential of industrial plastic. The exhibition ‘Utopia is Possible’ was not only significant as an exercise in advocating the pioneering importance of an interdisciplinary festival that predated the better-known Encuentros de Pamplona’ (Pamplona Meetings) the following year – both all the more astonishing as Spain remained under the grip of dictatorship until 1975 – but also (and following a sprawling exhibition about the latter at Madrid’s Museo Reina Sofía in 2009) as a corollary of the emergence of curatorial and exhibition history as legitimate fields of study, as exhibition.
‘Utopia is Possible’ remembered and celebrated an event that evoked a meltdown of academia, inflatable architecture, cinema, Catalan artistic vanguardism and countercultural ceremonies – part ‘Exploding Plastic Inevitable’, part technology enthusiast craft convention. Through teeming type and handwritten correspondence arranged in vitrines, hundreds of photographs, technical notes and newspaper reports – as well as four projections showing archival footage and a dozen monitors presenting newsreels and newly-made interviews with those involved – it revealed a project that clearly had a life-changing impact on those who experienced it. ICSID 1971 championed liberal social innovation and user-generated content. ‘This is an “open” congress’, declared its introductory statement, ‘a new experience […] for the first time the congress members will be able to participate to the utmost […] this is YOUR congress.’ The proceedings in the hotel comprised ‘Speaking Rooms’ with themes proposed by delegates, 65 talks including ‘The House Style of the Netherlands railway’,‘What We Are Doing in the Belgrade School of Design’, and ‘Basic Design with Computers’ – the latter led by the pioneering Centro de Cálculo (Computing Centre), a collaboration between Madrid’s Complutense University and IBM.
Down by the beach, meanwhile, the participation was of a somewhat different order – kinetic sculptural events with air, water, fire and food. Josep Ponsatí collaborated with members of the Grup Obert de Disseny Urquinaona (Urquinaona Open Design Group), who themselves collaborated in the pop-style signage of the congress, which was replicated in the show’s exhibition design. They tethered together 12 pairs of huge air-filled white plastic pillows that floated out over and on the bay like a giant flower. Vacuflex-3 (1971) by Antoni Muntadas and Gonzalo Mezza is a portable sculpture in the form of a 150-metre flexible plastic pipe which, with teamwork, can be variously carried around, used to spell out words on the sand (‘LOVE’, ‘LAND’, ‘HERE’) or floated on the sea. The opening dinner took the form of a multi-colour ritual orchestrated by Antoni Miralda, Jaume Xifra and Dorothée Selz; masked performers and diners wore green, red, blue and yellow cloaks, and feasted on similarly coloured paella and wine.
Yet Instant City took such multi-coloured experiences to architectonic dimensions, and it remains the ideological and pictorial emblem of the congress. Architecture students Carlos Ferrater and Fernando Bendito had persuaded architecture professor José Miguel de Prada Poole to transform their idea of inflatable student accommodation into reality. What resulted was a global manifesto for a new way of living intended to embrace the ‘nomadic and mobile’ values of impermanence and flexibility. Following publicity in colleges and magazines around the world, scores of volunteers came in the weeks before the congress to collaborate in stapling together a pop-up plastic community. Instant City was the backdrop to some of the exhibition’s most striking images, of bemused locals in traditional dress watching bearded design hippies building something between Hélio Oiticica’s ‘Penetrables’ and Maurice Agis’s ill-fated Dreamspace V (an inflatable environment that killed two women when it broke free from moorings in 2006). And although the taste of Utopian living was evidently challenged by the whiff of residing in sweltering polytunnel tentacles with too few toilets, it also inspired some soaring prog rock poetry that, perhaps more succinctly than any other words in the exhibition, gave a blast ofthe elaborate techno-paganism which must have blown minds at this extraordinary Congress. ‘Green cornfields alongside Instant City / Awaken to Ibizan sunrise’, read a typewritten sheet alongside module construction diagrams. ‘We are children of the future / Born into the paleo-cybernetic age / our minds extended electrically through the video sphere.’
‘Utopia is Possible’ offered a timely pre-history of participatory practice from a Spanish perspective and, against the backdrop of contemporary funding cuts, an object lesson in artistic solidarity and internationalism against the odds.
– Max Andrews
(Originally published in Frieze, October 2012, Issue 150)
2012, architecture, Barcelona, congress, design, event, knowledge exchange, MACBA, Max Andrews, modes of assembly, participation, performance, Reviews
Instant City, 1971. Col·lecció MACBA. Centre d'Estudis i Documentació. Fons Xavier Miserachs
‘This will be an ICSID Congress only 10 metres from the sea,’ read the welcoming Bulletin of the Seventh Congress of the International Council of Societies of Industrial Design in 1971. ‘The environment, the climate and the sea bathing will act as a stimulant to the general business of the Congress.’ As 1,500 delegates registered at the ziggurat-like hotel venue in northern Ibiza, the more adventurous made their way to Instant City, an inflatable camp below on Sant Miquel bay. Three days of meetings, debates, performances and partying were to follow –a professional design conference that was also a beach-side experiment in leisure and the creative potential of industrial plastic. The exhibition ‘Utopia is Possible’ was not only significant as an exercise in advocating the pioneering importance of an interdisciplinary festival that predated the better-known Encuentros de Pamplona’ (Pamplona Meetings) the following year – both all the more astonishing as Spain remained under the grip of dictatorship until 1975 – but also (and following a sprawling exhibition about the latter at Madrid’s Museo Reina Sofía in 2009) as a corollary of the emergence of curatorial and exhibition history as legitimate fields of study, as exhibition.
‘Utopia is Possible’ remembered and celebrated an event that evoked a meltdown of academia, inflatable architecture, cinema, Catalan artistic vanguardism and countercultural ceremonies – part ‘Exploding Plastic Inevitable’, part technology enthusiast craft convention. Through teeming type and handwritten correspondence arranged in vitrines, hundreds of photographs, technical notes and newspaper reports – as well as four projections showing archival footage and a dozen monitors presenting newsreels and newly-made interviews with those involved – it revealed a project that clearly had a life-changing impact on those who experienced it. ICSID 1971 championed liberal social innovation and user-generated content. ‘This is an “open” congress’, declared its introductory statement, ‘a new experience […] for the first time the congress members will be able to participate to the utmost […] this is YOUR congress.’ The proceedings in the hotel comprised ‘Speaking Rooms’ with themes proposed by delegates, 65 talks including ‘The House Style of the Netherlands railway’,‘What We Are Doing in the Belgrade School of Design’, and ‘Basic Design with Computers’ – the latter led by the pioneering Centro de Cálculo (Computing Centre), a collaboration between Madrid’s Complutense University and IBM.
Down by the beach, meanwhile, the participation was of a somewhat different order – kinetic sculptural events with air, water, fire and food. Josep Ponsatí collaborated with members of the Grup Obert de Disseny Urquinaona (Urquinaona Open Design Group), who themselves collaborated in the pop-style signage of the congress, which was replicated in the show’s exhibition design. They tethered together 12 pairs of huge air-filled white plastic pillows that floated out over and on the bay like a giant flower. Vacuflex-3 (1971) by Antoni Muntadas and Gonzalo Mezza is a portable sculpture in the form of a 150-metre flexible plastic pipe which, with teamwork, can be variously carried around, used to spell out words on the sand (‘LOVE’, ‘LAND’, ‘HERE’) or floated on the sea. The opening dinner took the form of a multi-colour ritual orchestrated by Antoni Miralda, Jaume Xifra and Dorothée Selz; masked performers and diners wore green, red, blue and yellow cloaks, and feasted on similarly coloured paella and wine.
Yet Instant City took such multi-coloured experiences to architectonic dimensions, and it remains the ideological and pictorial emblem of the congress. Architecture students Carlos Ferrater and Fernando Bendito had persuaded architecture professor José Miguel de Prada Poole to transform their idea of inflatable student accommodation into reality. What resulted was a global manifesto for a new way of living intended to embrace the ‘nomadic and mobile’ values of impermanence and flexibility. Following publicity in colleges and magazines around the world, scores of volunteers came in the weeks before the congress to collaborate in stapling together a pop-up plastic community. Instant City was the backdrop to some of the exhibition’s most striking images, of bemused locals in traditional dress watching bearded design hippies building something between Hélio Oiticica’s ‘Penetrables’ and Maurice Agis’s ill-fated Dreamspace V (an inflatable environment that killed two women when it broke free from moorings in 2006). And although the taste of Utopian living was evidently challenged by the whiff of residing in sweltering polytunnel tentacles with too few toilets, it also inspired some soaring prog rock poetry that, perhaps more succinctly than any other words in the exhibition, gave a blast ofthe elaborate techno-paganism which must have blown minds at this extraordinary Congress. ‘Green cornfields alongside Instant City / Awaken to Ibizan sunrise’, read a typewritten sheet alongside module construction diagrams. ‘We are children of the future / Born into the paleo-cybernetic age / our minds extended electrically through the video sphere.’
‘Utopia is Possible’ offered a timely pre-history of participatory practice from a Spanish perspective and, against the backdrop of contemporary funding cuts, an object lesson in artistic solidarity and internationalism against the odds.
– Max Andrews
(Originally published in Frieze, October 2012, Issue 150)
Antoni Muntadas and Gonzalo Mezza Ceremonial and Vacuflex-3, 1971.
Related materials:
- Video where participants' discuss their experience here
- Tour of the exhibition by exhibition co-curator Teresa Grandas, here (both in Catalan)
- Latitudes' writing archive
Moderation(s) meeting in Rotterdam and a few shows in Amsterdam
Thu, Oct 25 2012
Last week we were in Witte de With, Rotterdam, for a two-day meeting in preparation for the 2013 project Moderation(s). Moderation(s)
is a year-long programme of residencies, performances, exhibitions, workshops and
research initiated by Witte de With’s director Defne Ayas and Spring Workshop founder Mimi Brown.
At the core of the project stands ‘The Moderator’, incarnated
by Singaporean visual artist and writer Heman Chong. More news soon, in the meantime you can read more in this interview with the artist.
At the end of the first day of the workshop, Witte de With director Defne Ayas, gave a tour of their current show 'The Humans', a year-long project by visual artist and writer Alexander Singh (image above and three photos below), which "includes a variety of formats, from presentations and rehearsals to discursive events that are informed by the props produced on site. Leading up to the final presentation of his play in the Spring of 2013, Singh transforms Witte de With’s second floor into an artist’s studio." (text from Witte de With's website).
The exhibition included spatial design by architect Markus Miessen, including "a multi-purpose yellow monolith. This giant modular cube consisting of sixty-four separate blocks constantly mutates in accordance to a series of events taking place in 2012, including Singh’s Causeries."
(from the website).
The previous evening to the workshop TENT and Witte de With hosted an evening of events which began with a lecture by Vivien Sky Rehberg's "Deschooling/Deskilling" lecture.
(Above) Rotterdam ladies on stage. Left to right: Mariette Dölle (Programme director, TENT), Vivian Sky Rehberg (Director of the Master of Fine Art at the Piet Zwart Institute) and Defne Ayas (Director, Witte de With) introducing the evening.
Downstairs TENT had the exhibition "Between the map and the territory"
which included the below installation by curator Maaike Gouwenberg and
artist Joris Lindhout, on their ongoing research into the "gothic as a
cultural strategy".
Bik van der Pol's piece "Accumulate, Collect, Show" (below) at TENT (originally produced as part of Frieze Projects 2011). View video of the piece changing the modular text elements to spell out a number of abstract idioms, quotes and maxims here.
(Above) view of 'Untitled (Assimilated being), version 2"( 2011) by Swiss artist Karin Hueber: "Hueber’s work consists of installations of architectural elements that are apparently waiting to be used, as pieces of scenery for a stage production, as attributes for a performance. Elements are bent, folded, doubled, reversed or enlarged." (from the website).
On Sunday 21st we visited Amsterdam, quickly visiting the new spaces of de Appel and W139. de Appel presented the group show "Stem Terug! / Vote back!" which included a new presentation of the 2010 work "Local regulation" by Amikejo artists Iratxe Jaio and Klaas van Gorkum (image below).
(Above) General view of the first room of the exhibition with works by Artur Zmijewski ("Them (Oni)", 2007), Iratxe Jaio and Klaas van Gorkum ("Plaatselijke Verordening" (Local Regulation), 2010) and Otto Berchem ("Blue Monday", 2011).
(Above) General view of the first room of the exhibition with works by Sam Durant ("Tell it like it is", 2005), Yuri Veerman ("Red White Blue", 2012) and Otto Berchem ("Blue Monday", 2011).
(Above) Otto Berchem's "Blue Monday", 2011. Courtesy Gallery La Central.
(above and below) The Yes Men spoof edition of the "New York Times Special Edition", 2008.
The nearby W139 hosted the group exhibition "The Research and Destroy Department of Black Mountain College" (below) with the participation of 30+ artists whose work share the idea of 'collecting'.
At 4pm we joined the tour of the exhibition "Time, Trade and Travel" by Stedelijk Museum Bureau Amsterdam curator Jelle Bouwhuis (photographed below). The event coincided with the closing day of the exhibition.
Following Bouwhuis' tour, there was an in conversation between American artist Zachary Formwalt and Dutch critic and historian Sven Lütticken in which they discussed Formwalt's film 'A Projected Geometry' (2012) (presented in the "Time, Trade and Travel") in relation to his previous film work such as "unsupported transit" (2011), amongst others.
Witte de With, TENT, Stedelijk Museum Bureau Amsterdam (SMBA), de Appel and W139 were all part of Latitudes' curated programme 'The Dutch Assembly': 30 hourly talks, readings, artists presentations, performances, book launches, in conversations and screenings presented last February over the course of the five days of ARCOmadrid.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2012 "Frieze week" in pictures
Sat, Oct 20 2012A report in pictures from Frieze London (now in its 10th year!) & the inaugural Frieze Masters (11–14 October) as well as concurrent shows in London.
And elsewhere in London...
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2012, Fischli and Weiss, Franz West, Frieze Art Fair, Grizedale, Ian Kiaer, London, Pak Sheung Chuen, Paul Sietsema, photo, report, Sarah Lucas, Theaster Gates, Thomas Bayrle, Thomas Houseago, Tino Sehgal
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| Rirkrit Tiravanija light box at Koo Jeog A floor at the stand of Pilar Corrias. |
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| "Colosseum of the Consumed" by Grizedale Arts & Yangjiang Group was one one of the six Frieze Projects this year. (Unfortunately we didn't get a photo of the tomato battles.) There's a nice article about the endeavor over at Another Magazine. |
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| Colosseum of the Consumed: Various advanced pickled food, kimchi and pickled eggs. Would make an interesting breakfast. |
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| Too distracted by the boomerangs and Inuit carvings at Frieze Masters to take many photos, but the stand of Sfeir-Semler presenting works by the Emirati conceptualist Hassan Sharif was a highlight. |
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| Back in the main tent, Geoffrey Farmer – he of the 'leaves of grass' Life magazine work at dOCUMENTA (13) – presented a solo booth with Casey Kaplan. |
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| Chantal Crousel's stands are always immaculate ("What a Load of Rubbish" is by Claire Fontaine, the lamps by Haegue Yang). In the foreground is the seating area with Thomas Bayrle's "La vache qui rit" motif, another of the Frieze Projects. |
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The Modern Institute/Toby Webster: Simon Starling in the back, Jeremy Deller in the front (a work which refers to this relevation.) |
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| Aslı Çavuşoğlu's Frieze Project: ""Murder in Three Acts" was inspired by the representation of art in popular media, particularly in television crime series in which the artworks don’t solely exist in the background of the show, but become a vital part of the script: exhibitions function as crime scenes and art works act as murder weapons." |
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Vitamin Creative Space, with works by Pak Sheung Chuen, was awarded the Best Stand prize. Here, some left hand / right hand peanuts.  |
Tino Sehgal's Unilever series commission at Tate Modern's Turbine Hall (above and below). Go see it, photos don't do justice to the piece!
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| Gagosian (Britannia Street): works by the recently departed Franz West. |
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| Detail of Franz West's show at Gagosian (Britannia Street) |
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| Bjarne Melgaard: A House to Die In until 18 November at ICA London. |
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| Thomas Houseago at Hauser & Wirth |
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| Thomas Houseago at Hauser & Wirth |
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| Fischli & Weiss at Sprüth Magers. More installation shots here. |
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| Sarah Lucas & Franz West at Situation / Sadie Coles (First Floor, 4 New Burlington Place). One of the most interesting shows in town. |
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| Stuart Shave/Modern Art presented David Noonan, nine new silkscreen works on linen. |
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| Ian Kiaer at Alison Jacques Gallery |
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| Theaster Gates at White Cube Bermondsey. The Shard in the background. More info and images of the show (as photos were not allowed inside the gallery) in this Domus interview with Martina Angelotti. |
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| Artist Placement Group 1966-79 at Raven Row. Always beautiful galleries and great shows. |
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| Falke Pisano at Hollybush Gardens. |
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| Mike Bouchet at Hotel. |
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| Klaus Weber at Herald St. |
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| Maureen Paley with the work of Liam Gillick. |
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| The Drawing Room presented the first major exhibition by Paul Sietsema in the UK. |
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| SUNDAY was organised by three of the participating galleries: Croy Nielsen (Berlin), Limoncello (London) and Tulips & Roses (Brussels). |
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| Work by Spartacus Chetwynd at the Turner Prize show at Tate Britain. |
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| And last but not least, a shot from the amazing Tarek Atoui-led musical extravaganza at the Serpentine on 12 October. |
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
September/October Mexico City photo report
Wed, Oct 17 2012LABOR and kurimanzutto both opened on the 20th September. LABOR's solo exhibition of Terence Gower (one of the five artists invited by Latitudes as part of the 'Incidents of Travel' project documented at Casa del Lago). His 'Ottagono' exhibition presented new and old works "that extended the artist investigation into the realm of abstract art" (quote from the press release), including the 2010 video "New Utopias", "Noguchi Galaxy" (2012), the sculpture group "Display Modern (Hepworth)" (2007) as well as paintings on photographs "Latin American Architecture" (2012), amongst others.
The Museo Experimental El Eco also had a book launch that evening, and upstairs the project "FRANCE FICTION: Vinimos a soñar" by Paris-based curator Jennifer Teets could be seen.
kurimanzutto began the 2012-13 season with Untitled 2012, (All those years at No. 17E London Terrace), a collaboration between visual artist Rirkrit Tiravanija and musician Arto Lindsay, for which the artist recreated Lindsay's New York flat and copied around 2000 CDs and books he has had in storage in New York. Lindsay played the following day at Cine Tonalá and hung out in his new plywood mexican home the following week recording music and talking with visitors. Also, in the project space, was Paloma Polo's 'Posición Aparente' (recently exhibited as part of Reina Sofia's Fisuras programme). On view until 3 November. ( gob. Rafael Rebollar 94, Col. San Miguel Chapultepec, 11850 México D.F.) http://www.kurimanzutto.com
During installation we escaped for a lunch break and a visit to the recently extended Museo Tamayo Arte Contemporáneo in the Bosque de Chapultepec. The Tamayo hosted an impressive roster of exhibitions: two group shows and three solo presentations, besides a selection of Tamayo's work: 'Primer Acto' (a group show on the idea of inauguration and the opening act), 'El mañana ya estuvo aquí' (a group show with works around the idea of retrospective visions of the future of modernity), Ryan Gander's 'Boing, boing, squirt'; Pierre Huyghe's 'El día del ojo' (a three part piece consisting of a permanent sculpture of a fish tank with blind fish and volcanic rocks; a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca; and a publication) and the project 'Nueva Matemática' by Michael Stevenson.
Wilfredo Prieto's red carpet welcomes visitors.
SUPERFLEX's visitor counter outside the museum.
Central courtyard with Pierre Huyghe's fish tank with blind fish and volcanic rocks (background and below); a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca.
The day after our Casa del Lago opening we visited the Museo Universitario Arte Contemporáneo (MUAC) which had shows of Edgardo Aragón ("Por amor a la resistencia"), an impressive Teresa Margolles
piece, "La Promesa", following the focus of her long-term investigation
on Ciudad Juárez as a political and social context, and "Ejercicios de
Resistencia" by Nicolás Paris. Downstairs there was an archival display of Felipe Ehrenberg's collection fund.
Façade of the museum in the University (UNAM) campus.
Entrance foyer and lower level.
"Ejercicios de
Resistencia" by Nicolás Paris.
Stairs to the restaurant, auditorium and library.
Downstairs archival material of Felipe Ehrenberg's collection fund.
At MUCA-Roma we visited the group show "Colección: El crimen fundacional, crítica del museo'
curated by first graduating students in the Curatorial Programme of
UNAM's Art History degree, which included Mariana Castillo Deball's
piece 'It
rises or falls depending on whether you're coming or going. If you are
leaving, it's uphill; but as you arrive it's downhill' (2006), presented in 2007 in the Latitudes'-curated exhibition 'Extraordinary Rendition'. The piece revisits a popular legend around the looting and
transportation of the colossal stone statue of Tláloc to the National
Museum of Anthropology in Mexico City in a series of lithographs. 
Our final stop was Proyectos Monclova, which has relocated to a new and much larger space in Colima 55 (Col. Roma) with a solo show of architect Eduardo Terrazas (best known for his graphic design for Mexico's 1968 olympics realised in collaboration with Lance Wyman and Manuel Villazón.) Terrazas was concurrently exhibiting some works at the Casa Luis Barragán. The final gallery space was screening a fantastic slideshow with the 1968 work "Imagen México" accompanied with a soundtrack of 1969 songs. The exhibition finished on 29 September. See video of the opening here (via Vernissage TV) and a recent newspaper article.
Façade of the gallery.
Central gallery space.
Some of Terraza's works on view in the central space.
1970-1972 works on view in the back gallery space.
Showroom nearby the gallery offices.
On Saturday 29th there was a tour (Ruta de Galerias, see video by Vernissage TV) around San Miguel Chapultepec and Tacubaya art spaces (participants included: Archivo Diseño y Arquitectura, Casa Luis Barragán, Central Art Projects, Galería de Arte Mexicano, Gallé Antigüedades, Jan Mot, kurimanzutto, Labor, Estacionamientos San Miguel Chapultepec, and Fundación Alumnos47). We started the day at the Museo de Arte Moderno, with a launch of the publication "History of the World" and in conversation between L.A.-born Guadalajara-based artist Eduardo Sarabia and Patrick Charpenel, collector and director of the Colección Jumex.
The tour was followed by a quick burger lunch at Café Zena in the corner of Gob. Potasio Pérez de Tagle and Antonio de León.
...and then back to kurimanzutto, where Arto Lindsay was having a conversation with Carlos Icaza, discussing a selection of his books and CDs, talking about the changes in music technology and supports (from vinyl to CDs), mexican, brazilian and japanese musicians.
On our final evening in Mexico City we went to Sala Arte Público Siqueiros, where cuban artist Wilfredo Prieto celebrated the beginning his 45-day project "Dejándole algo a la suerte" (Leaving something to chance, until 12 November). For the duration of the exhibition Prieto occupies the upper gallery of the SAPS which has been turned into a studio from where he develops and conceptualises works to be presented on a daily basis on the lower gallery space (see here for those who have already taken place). On October 4th, the (non) opening day, the project began with 'Dos Tiempos': the encounter of a hare (named Raúl) and a terapin (Anastasia).
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Conferencia dentro del ciclo "Oficios de la cultura", Aula Cultura OBS Caja Mediterráneo, c/ Salzillo 7, Murcia, 17 de octubre, 20h. Entrada gratuita.
Mon, Oct 15 2012
Publicación del ciclo expositivo 'Amikejo' (Mousse Publishing, 2012).
Mariana Cánepa Luna de Latitudes discutirá el rol del comisario a partir de tres proyectos recientes de Latitudes. Estos casos de estudio trazan enfoques de índole editorial (The Last Newspaper, New Museum, Nueva York (2010)); como organización participante (las dos ediciones del festival No Soul for Sale: A Festival of Independents en X Initiative, Nueva York (2009) y en Tate Modern (2010)); y en un ciclo expositivo anual ('Amikejo', MUSAC, León (2011)).
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
Este ciclo de conferencias mensuales analiza las diferentes profesiones que operan en el campo del arte contemporáneo, presentando aspectos que caracterizan la labor del crítico, el comisario, el productor cultural, el investigador y los responsables de espacios independientes. + info...
Ciclo co-dirigido por Ana G. Alarcón, Isabel Durante y Pablo Lag, componentes del grupo curatorial Primer Escalón.
Fotodocumentación de la conferencia aquí.
The Last Newspaper exhibition catalogue, New Museum, New York, 2010–11.
Lecture within the cycle "Cultural Professions", Aula de Cultura Caja Mediterráneo, Murcia, 17 October, 20h. Free.
Mariana Cánepa Luna of Latitudes will discuss the role of the curator in the context of three of Latitudes' recent projects. These case studies trace Latitudes' approach in an editorial context (The Last Newspaper, New Museum, New York (2010)); a year-long exhibition series ('Amikejo', MUSAC, León (2011)) and as an invited organisation (the two editions of No Soul for Sale: A Festival of Independents in X Initiative, New York (2009) and Tate Modern (2010)).
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
This cycle of monthly conferences centres on different professions within contemporary art, discussing aspects that characterise the practice of a cultural producer, a critic, a curator, a researcher and a member of an independent art space. + info...
Cycle co-directed by Ana G. Alarcón, Isabel Durante and Pablo Lag, from the curatorial group Primer Escalón.
UPDATE: Photo documentation of the lecture here.
All photos: Latitudes | www.lttds.org
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Entrevista a Ethel Baraona Pohl, segunda en la serie #OpenCurating, beca de investigación BCN Producció 2012
Mon, Oct 8 2012
Retrato de Ethel Baraona Pohl. Foto: Marcelo Isarrualde.
"Alguien dijo 'Adhocracia'?" es la segunda entrevista de la serie #OpenCurating (leer la primera entrevista 'Beyond Interface' aquí). En esta ocasión Latitudes entrevista a Ethel Baraona Pohl, arquitecta, co-fundadora de la editorial dpr-barcelona y blogera afincada en Barcelona, y actual miembro del equipo curatorial de 'Adhocracy', exposición de la primera Istanbul Design Biennial, que inaugura el próximo 13 de octubre.
Ethel Baraona Pohl desarrolla su trabajo profesional vinculada a varias
publicaciones de arquitectura y diseño. Colabora en blogs y revistas,
entre los que se incluye Domus, Quaderns y MAS Context, entre otros. Ha
sido invitada a presentar su trabajo en eventos como Postópolis! DF y el
festival internacional de arquitectura Eme3. Co-fundadora de la
editorial independiente dpr-barcelona junto con César Reyes Nájera, sus
proyectos, digitales e impresos, subvierten los límites de las
publicaciones convencionales, acercándose a aquellos que son
probablemente los títulos de la arquitectura y el diseño en el futuro.
–
ACERCA DE #OPENCURATING
Partiendo de las preocupaciones exploradas por Latitudes durante el proyecto editorial realizado durante 'The Last Newspaper' (New Museum, Nueva York, 2010), y basándose en las prácticas emergentes del denominado 'periodismo abierto' (Open Journalism) – que trata de mejorar la colaboración y utilizar la habilidad de cualquier persona para publicar y compartir – #OpenCurating es un proyecto de investigación que indaga cómo los proyectos de arte contemporáneo pueden funcionar más allá del tradicional formato 'exposición y catálogo'. #OpenCurating se enfoca en las nuevas formas de interacción entre los públicos – sean seguidores en red o visitantes físicos – con obras de arte, su producción, exhibición y su contexto discursivo.
El proyecto se estructura a partir de tres elementos: una serie de diez entrevistas a comisarios, artistas, periodistas y expertos online publicada en una edición digital gratuita, una discusión en Twitter moderada por el hashtag #OpenCurating y por último, un evento que tendrá lugar en Barcelona (fecha por determinar).
#OpenCurating es el proyecto ganador de la primera convocatoria BCN Producció 2012 en la categoría de investigación, otorgada por el Institut de Cultura de Barcelona.
Síguenos en Twitter: #OpenCurating
Content partner: Walker Art Center
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.