LONGITUDES

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Presentation by Ruth Clinton & Niamh Moriarty and Askeaton Contemporary Arts around “The Pilgrim” research, 6 May 2023 at 12 pm

Thu, Apr 27 2023

Carrer Pou de la Figuera, Barcelona. Courtesy Eulàlia Rovira.

Presentation by Ruth Clinton & Niamh Moriarty and Askeaton Contemporary Arts around “The Pilgrim”

Saturday 6 May 2023, 12 pm

Carrer Pou de la Figuera 16, baixos. 08003 Barcelona

In English. Limited space. Reservations: [email protected]

Irish artists Ruth Clinton & Niamh Moriarty will present their work as part of a two-week residency in Barcelona and their approach to the extraordinary story of “The Pilgrim” (narrated here – an 18th-century Barcelona merchant who ended up living his last sixteen years in penance in the Irish town of Askeaton. They will be accompanied by the project co-curators Michele Horrigan and Sean Lynch from Askeaton Contemporary Arts who will highlight some of their recent programmes.

“The Pilgrim” is a pilot exchange programme linking Barcelona with southwest Ireland, Latitudes with the organisation Askeaton Contemporary Arts), and Ruth Clinton & Niamh Moriarty with Catalan artist Eulàlia Rovira, who hosts this event in her studio.

Illustration found during Latitudes’ research at the Arxiu Històric de la Ciutat de Barcelona (Casa de l'Ardiaca).

Throughout 2023, artist residencies and a public programme will enhance new artistic and curatorial research, and create new possibilities for international collaboration.

“The Pilgrim”’s curatorial framework derives from an extraordinary story from over two centuries ago. It is recalled that a Barcelona merchant named Don Martínez de Mendoza, one of the wealthiest men in Catalonia during the mid-1700s, murdered his son-in-law to avenge the death of his daughter in childbirth in a Barcelona convent years before. Don Martínez ended up living his last sixteen years as a pilgrim in penance in Askeaton, County Limerick. A cryptic inscription can still be found in the cloister of Askeaton Friary: “Beneath lies the Pilgrim’s Body, who died January 17, 1784”.

More info here.

Follow: #PilgrimAskeaton

“The Pilgrim” is supported by the Irish Arts Council’s International Residency Initiatives Scheme 2022.

RELATED CONTENTS:

“The Pilgrim” in Barcelona and Askeaton, 31 Jan 2023
Audio – "The Pilgrim" by Tim Kelly. Read by Carl Doran. Published in Askeaton-Balysteen Community News, Summer 1984, August 2018, 24'57''
Cover Story–August 2018: Askeaton Joyride, 1 August 2018
Residency report: Askeaton Contemporary Arts, County Limerick, Ireland, 20–29 July 2018x, 30 July 2018

2018, 2023, archive, Askeaton, Barcelona, curated by Latitudes, Eulàlia Rovira, Michele Horrigan, Niamh Moriarty, research, residency, Ruth Clinton, Sean Lynch, The Pilgrim

Latitudes’ (extended) Environmental Policy Statement

Mon, Apr 17 2023

“Postpetrolistic Internationale” choir performance by Christina Hemauer & Roman Keller on Maasvlakte, Rotterdam, 8 November 2009. Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR and curated by Latitudes. Courtesy: SKOR / Photo: Paloma Polo.

Latitudes recently published an Environmental Policy Statement on the website, below is an extended version which we invite you to read:

Since its beginning in 2005, Latitudes’ curatorial practice has critically engaged with environmental concerns through contemporary art. This has included curating ambitious group exhibitions including “4.543 billion. The Matter of Matter” at the CAPC musée d’art contemporain de Bordeaux in 2017, and “Greenwashing” at the Fondazione Sandretto Re Rebaudengo in 2008, or solo shows such as “Christina Hemauer & Roman Keller: United Alternative Energies” at Kunsthall Århus in 2011, as well as convening the three-day symposium “Art, Ecology and the Politics of Change” for the Sharjah Biennial 8 in 2007.

Cover of “LAND, ART: A Cultural Ecology Handbook” edited by Max Andrews, and coordinated by Mariana Cánepa Luna. Published and commissioned by the Royal Society of Art in partnership with the Arts Council England, 2006. Photo: Robert Justamente.

Spread of UOVO magazine #14, a 500-page issue + two CDs guest edited by Latitudes, 2007. Photo: Alexis Zavialoff.

Cover and back cover of the exhibition catalogue “Greenwashing” (Archive Books, 2008), Fondazione Sandretto Re Rebaudengo, Torino. The 192-page full-colour catalogue embraced environmentally-conscious design with a degree of irony, each of the book's thirteen sections was printed on a different 'eco-paper' such as Shiro Alga Carta (produced by harvesting algae from the Venetian lagoon), KeayKolour Recycled Honey or Shiro Tree Free Naturale, alongside their corresponding eco-credentials. Photo: Latitudes.

Pages of Lara Almarcegui's first monograph “Lara Almarcegui. Projects 1995–2010” (Archive Books, 2011) covering 15 years of her artistic practice, with commissioned texts by Cuauhtémoc Medina and Lars Bang Larsen, and an introduction by Latitudes. Photo: Latitudes.

Latitudes edited the landmark publication “Land, Art: A Cultural Ecology Handbook” in 2006, the 500-page green issue of UOVO magazine in 2007, and Lara Almarcegui’s first monograph in 2011, as well as writing texts including a catalogue essay for TBA21’s exhibition “Abundant Futures” entitled “Soil for Future Art Histories” (2023), and presenting the lecture “Curating in the Web of Life” for Garage Museum of Contemporary Art’s exhibition “The Coming World: Ecology as the New Politics 2030–2100” (2019).

View of “Ocells perduts” (Stray Birds) (2021) by Laia Estruch in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” (“Panorama 21: Notes for an Eye Fire”), MACBA Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022. Curated by Hiuwai Chu and Latitudes. Produced by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Research supported by a Premis Ciutat de Barcelona 2020 grant from the Barcelona City Council. Photo: Roberto Ruiz.

In terms of related public-realm commissions, we worked with Danish artist Tue Greenfort for The Royal Society of Arts’ pioneering Arts & Ecology programme (2005–2008) and curated ten public art projects around Europe’s largest seaport, the Port of Rotterdam (“Portscapes” in 2009–2010). We have also organised thematic curatorial residencies around geological agency (“Geologic Time”, Banff Centre, 2017) and a touring film programme on the legacy of Land Art (“A Stake in the Mud a Hole in the Reel”, 2008–2009).

Last but not least, since 2008 we have been custodians of the website of RAF/Reduce Art Flights, a reference resource about the campaign initiated by the late Gustav Metzger (1926–2017).

RAF/Reduce Art Flights website reduceartflights.lttds.org

Latitudes’ environmental impact is small, yet we acknowledge that the largest impact comes from flights and the disproportionate mobility practices of the sector we work in. We believe that art and culture have a role to play in bringing about ambitious change, applying best practices and setting a positive example to position the climate crisis at the centre of the political and social debate.

In January 2023 we became individual members of the Gallery Climate Coalition (GCC) and began to work with colleagues to set up the Spanish volunteer team, GCC España, that meets regularly to track progress on environmental targets and actions.

Making of Jan Dibbets’ film “6 Hours Tide Object with Correction of Perspective” (1969–2009). Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR, curated by Latitudes. Documentation included in the multi-part publication box “Portscapes” designed by Ben Laloua / Didier Pascal, launched with the opening of the exhibition “Portscapes” at the Museum Boijmans van Beuningen in Rotterdam, 2010. Photo: Latitudes.

Editors of Rotterdam-based magazine Fucking Good Art were ‘embedded’ in the port's Yangtzehaven for a month in the summer of 2009 from where they produced ‘Portscapes_ON AIR Station Maasvlakte’, a series of audio walks, field recordings and conversations with guests from different disciplines for the “Portscapes” website. Photo courtesy: FGA.

We will measure and publish our carbon footprint every year to comply with the GCC targets and commitments of reducing carbon emissions by 50% by 2030 (when compared to a 2019 baseline). Rather than purchasing carbon offsets, and following GCC guidelines on this matter, we are also setting aside a fund (€50 per tonne of emitted CO2 per year) to be spent on low-carbon purchasing options that would otherwise be unaffordable. Our intention is to eliminate unwarranted air travel, and we do not take flights when there is an alternative rail or sea route that takes less than 7 hours. The latter policy follows one adopted by the Ajuntament de Barcelona (the City Council) in 2020.

Latitudes requests external collaborators opt for train or alternative low-carbon transit and freight options in line with GCC’s guidelines (as well as Gustav Metzger’s RAF/Reduce Art Flights campaign) and this is reflected in work contracts. We hope to lead by example in implementing a sustainability strategy in the planning of exhibitions from an early stage, and whenever curating projects we always try to build the minimum necessary temporary architecture and ensure that any exhibition-related production is entirely locally tuned. We ask that collaborators use no plastic or other single-use materials when transporting works or for events.

Hike with “Geologic Time” participants to Stanley Glacier in Kootenay National Park, as part of the residency programme curated by Latitudes at the Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017. Photo: Latitudes.

Latitudes’ website runs on sustainable energy. According to websitecarbon.com (see stats below), LTTDS.org produces 16.76kg of C02 equivalent per year, roughly the amount of carbon that one tree would absorb in the same time, and it consumes 44kWh of energy (equivalent to 280km in an electric car).

In our personal lives, we prioritise the 5 Rs: Refusing, Reducing, Reusing, Repurposing and Recycling. We do not own a car and use public transport networks. Other practical actions we undertake include periodically donating household or clothing items to charity organisations that offer support to vulnerable communities in our neighbourhood (including Fundació Roure and El Trampolí). And last but not least, since 2013 Latitudes banks with an ethical bank which finances initiatives that contribute to ecological, social and cultural change.

Left-sided entrance to the exhibition “4.543 billion. The Matter of Matter” with the participation of over thirty artists and the presentation of over a hundred works, CAPC musée d’art contemporain de Bordeaux, June 2017–January 2018. Photos: Latitudes / RK.

RELATED CONTENT:

Gallery Climate Coalition (GCC) en el Estado español, 25 January 2023
Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
“‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 Aug 2021
18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008

2023, art and ecology, carbon cycle, Ecology, energy use, environmental compensation, environmental responsability, Gallery Climate Coalition, geologic time, Land Art, Reduce Art Flights

Cover Story, April 2023: Jerónimo Hagerman (1967–2023)

Sat, Apr 1 2023

April 2023 cover story on www.lttds.org

The April 2023 monthly Cover Story “Jerónimo Hagerman (1967–2023)” is now up on our homepage: www.lttds.org

“We are grateful to have crossed paths in life with the unique spirit that was the artist Jerónimo (Momo) Hagerman. Momo radiated love and affection to all the human and non-human beings that surrounded him. Taken on 24 September 2012, in this photo we see Momo gazing up at a special tree in the Polanco district of Mexico City that he took us to see as part of his day for Incidents of Travel.”

→ Continue reading (after April 2023 this story will be archived here).

Cover Stories are published every month 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, March 2023: Art, Climate and New Coalitions, 1 March 2023

Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023

Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023

Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022

Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022

Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022

Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021

Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022

Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022

Cover Story, May 2022: Things Things Say in print, 2 May 202 2

2023, cover story, Incidents of Travel, Jerónimo Hagerman, website

Cover Story, March 2023: Art, Climate, and New Coalitions

Wed, Mar 1 2023

March 2023 cover story on www.lttds.org

The March 2023 monthly Cover Story “Art, Climate and New Coalitions” is now up on our homepage www.lttds.org

“The terminology of environmental consciousness and carbon emissions has shifted significantly in recent decades, from talk of the greenhouse effect to global warming and sustainable development, and now from climate change to the climate emergency. ” → Continue reading (after March 2023 this story will be archived here).

Cover Stories are published on a monthly basis on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.