Latidues: Blog

RECORDATORIO: Presentación de la publicación 'Amikejo': Martes 22 Mayo, 20h en Múltiplos (c/ Lleó 6, 08001 Barcelona)

2012-05-17T11:30:00.000+02:00

Presentación de la publicación 'Amikejo' editada por Mousse Publishing en colaboración con MUSAC.

Martes 22 Mayo, 20h en Múltiplos (c/ Lleó 6, 08001 Barcelona)

Presentación a cargo de Fermín Jiménez Landa, artista participante, y Latitudes, editores y comisarios de 'Amikejo'

La publicación concluye el ciclo de exposiciones 'Amikejo', que a lo largo del 2011 ha incluído muestras de Pennacchio Argentato; Iratxe Jaio & Klaas van Gorkum; Uqbar (Irene Kopelman & Mariana Castillo Deball y Fermín Jiménez Landa & Lee Welch en el Laboratorio 987, el espacio proyectual del Museo de Arte Contemporáneo de Castilla y León (MUSAC). (+ info...)

El volumen incluye textos sobre cada proyecto escritos por los comisarios del ciclo, así como reimpresiones de Giorgio Agamben ("Notas sobre el gesto", 1996) y Georges Perec (extractos de "Especies de espacios y gestos Otras Piezas", 1974 ), vistas de las exposiciones y biografías de los artistas participantes.

Además cuenta con una serie de ensayos de académicos y científicos especialmente escritos para la ocasión:

Peter Osborne (Profesor de Filosofía moderna y director del Centro de investigación de filosofía europea moderna de la Kingston University London) con el texto ‘Fragmentos del futuro': Notas sobre el espacio proyecto" que se centra en peculiar idea de la 'sala de proyectos', espacio que se caracteriza por ser total en su idoneidad para un determinado tipo de temporalización: la temporalización del proyecto. ¿Cuál es su distintiva espacialización?, Y ¿cómo le afecta la codificación específicamente artística de un proyecto?.

Ryszard Zelichowski (Profesor y Director de Investigaciones Científicas en el Instituto de Estudios Políticos de la Academia Polaca de Ciencias) contribuye con el texto "Neutral Moresnet y Amikejo - Los niños olvidados del Congreso de Viena" ofrece una visión general de cómo Moresnet Neutral (el estado rebautizado como 'Amikejo' en 1908) llegó a existir.

Theo Beckers (Ex-profesor de Estudios de Ocio de la Universidad de Tilburg y en la actualidad miembro del cuerpo docente del Centro de Sostenibilidad de Tilburg y profesor visitante de la Academia china de ciencias)** escribe el texto "El tiempo libre. Auge y caída de un proyecto social", en el que rastrea la relación de la sociedad occidental con el trabajo y el tiempo, desde Séneca el Joven, a través del auge de las fábricas y de los 'Principios de Administración Científica' (1911) de Frederick Winslow Taylor, hasta la actual confusión hoy en día entre trabajo y ocio.

Menno Schilthuizen (Científico de investigación en NCB Naturalis, Cátedra para la biodiversidad de los insectos en la Universidad de Groningen y Profesor asociado en la Universidad de Leiden) escribe "Sobre las imágenes especulares en la naturaleza: cómo formas idénticas pueden ser totalmente distintas", principio que se refleja en la exposición del dúo Uqbar entorno a la quiralidad: en animales y plantas asimétricas, a veces ambas formas especulares existen lado a lado, pero a veces sólo existe una de ellas y el otro es "prohibido".

Título: Amikejo
Edita: Latitudes
Publica y distribuye: Mousse Publishing en colaboración con MUSAC
Fecha publicación: Abril 2012
Formato: 22.5x15.5cm, 216 págs, tapa dura
Idioma: inglés/español
Distribuye: Mousse Publishing
ISBN: 9788896501832
Precio: 26 Euros
Compra online

La publicación estará disponible durante la presentación.

Múltiplos es una librería y distribuidora independiente de Barcelona especializada en libros de artistas.

All images: Latitudes | www.lttds.org

SAVE THE DATE: Presentation of the publication 'Amikejo' with artist Fermín Jiménez Landa. Tuesday 22 May, 20h at Múltiplos, Barcelona

2012-05-08T12:17:00.003+02:00

All photos: Latitudes | www.lttds.org

Latitudes will present the publication together with 'Amikejo' artist Fermín Jiménez Landa, who will discuss the project presented together with Lee Welch for the final exhibition of the cycle. Jiménez Landa will discuss one of the works, 'Himno Nacional' (2011), in which a marching band was commissioned to compose and play a new national anthem. Composed in the most archaic tradition, markedly romantic, military and patriotic, the anthem enacted a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

The publication accompanies the cycle of four exhibitions by Pennacchio Argentato (29 January–3 April 2011); Iratxe Jaio & Klaas van Gorkum (9 April–12 June 2011); Uqbar (Irene Kopelman & Mariana Castillo Deball) (25 June–11 September 2011); Fermín Jiménez Landa & Lee Welch (24 September 2011–15 January 2012) that took place at the Laboratorio 987, the project space of MUSAC, León, thoughout 2011. (+ info...)

Editor: Latitudes
Publisher & Distribution: Mousse Publishing
Format: 22.5 x 15.5cm, 216 pp, hardcover
Texts: Giorgio Agamben, Theo Beckers, Latitudes, Peter Osborne, Georges Pérec, Menno Schilthuizen, Ryszard Zelichowski
Language: English and Spanish
ISBN: 9788896501832
Price: 26 Euro

The publication will be available for purchase during the presentation. Múltiplos is an independent bookshop that specialises in artists publications.

More images: http://www.flickr.com/photos/lttds/sets/72157629632650932/

Pennacchio Argentato's show "Conversion" at Wilkinson Gallery, London

2012-05-07T12:33:00.002+02:00

Below images of "Conversion" the recently opened solo show of Amikejo artists Pennacchio Argentato. The exhibition is on view in the Upper Gallery of Wilkinson gallery in London until 17 June 2012.

General view of the exhibition.

'Set in the Same Universe', 2012. Acrylic resin, print transfer (200 × 95 × 45 cm)

'West End', 2012. Aluminium, cord (Dimensions variable)

(Wall) 'Shield#0 – #00001', 2012. Acrylic resin, iron, print transfer, bike hooks (130 × 92 × 40 cm), (Right, free standing) 'Set in the Same Universe', 2012. Acrylic resin, print transfer (200 × 95 × 45 cm)

'FAQ', 2012. Plexiglas, digital projection (35×70 cm). All images: Courtesy the artists and Wilkinson Gallery, London

(Excerpts from the gallery press release):

"Conversion" presents sculptures as free standing agents, hanging off the wall and suspended from the ceiling. As if overcome by a crisis of aesthetic register, a stylistic battle takes place between the artworks’ broad formal references, ranging from minimalist tendencies and optical illusion, to gothic font text paired with “new age” video.

Cast in acrylic resin from the front glass of a car, the artists characterize the four shield-like sculptures Shield#0- #00001 as troops deployed in a row, prepared for battle. According to the artists’ selfdevised system, all matter, including the artists’ themselves, are convertible entities; this conversion is likewise reflected in our daily lives, whether it be in terms of converting file formats or currency.

FAQ operates as a sculpture illuminated by a video projection of mathematical fractals abstracted into an array of shifting lights, colors and forms. Acting as a visual anchor, it only but alludes to the presence of answers, instead manifesting as a form of light amusement or distraction. In formal contrast, sculptures such as Long Bones, placed at the entrance to the gallery, as well as West End, a ladder sculpture suspended from the ceiling, adopt a more tectonic composition.

The incandescent photographic flames that optically engulf the freestanding sculpture, Set in the same universe function as the fuel that formally unites the subsequent artworks in the exhibition. Taken from a larger image of civil riots found in recent news, the sculpture acts as a centripetal force within the exhibition by introducing an element of reality into the fictional discourse and diversit of styles that are otherwise present in the gallery.

Wilkinson

50-58 Vyner Street

London E2 9DQ

info@wilkinsongallery.com

Wednesday to Saturday: 11–18h
Sunday: 12–18h

Where to find the publications edited by Latitudes?

2012-04-22T20:00:00.000+02:00

'Amikejo' (Mousse Publishing, 2012)

Available via Mousse Publishing (Milan) and Motto (Berlin)

+ info on the exhibition series

'Lara Almarcegui, Projects 1995–2010' (Archive Books, 2011/12)

Available via Archive Books (Berlin)

+ photos

+ info on the publication

Roman Keller & Christina Hemauer, 'United Alternative Energies: Christina Hemauer & Roman Keller' (The Århus Art Building, 2011)

Available at the The Århus Art Building, Århus (Denmark)

+ photos

+ info on the exhibition

Martí Anson and Latitudes,'Mataró Chauffeur Service' (Save As...Publications, 2011)

Available via Múltiplos (Barcelona) and La Central (stores in Barcelona & Madrid)
+ photos

+ info on the project

'The Last Newspaper' (Latitudes & The New Museum, 2010)

Available via Múltiplos (Barcelona), Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid). Special edition (in the box) available via the New Museum store (New York)

+ photos
+ info on the exhibition

'Portscapes' (SKOR / The Port of Rotterdam, 2009)

Available via Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid)

+ photos

+ info on the commissioning series

Simon Fujiwara, 'The Museum of Incest' (Archive Books, 2009)

Available via Archive Books (Berlin) and La Central (stores in Barcelona & Madrid)

+ photos
+ info on the exhibition

Ignasi Aballí, 'Nothing, or Something' (Today Art Museum, 2009)

Available via Múltiplos (Barcelona)

+ photos

+ info on the exhibition

'Greenwashing. Environment: Perils, Promises and Perplexities' (The Bookmakers Ed. / Archive Books, 2008)

Available via Motto Distribution (Berlin)

+ photos
+ info on the exhibition

Two of our earlier publications from 2006 and 2007 are out of print:

'Land, Art. A Cultural Ecology Handbook' (Arts Council England & Royal Society of Arts, 2006)
+ photos

+ info on the publication

UOVO #14 (The Bookmakers Ed., 2007)

+ photos

+ info on the publication

Most publications can also be found for consultation at MACBA's library.

Casa Bloc (1932-39) arquitectura racionalista de la II República en el Barri de Sant Andreu, Barcelona

2012-04-15T20:12:00.000+02:00

Vista de uno de los bloques Casa Bloc en el Passeig Torras i Bages del barrio de Sant Andreu.

Construida entre 1932 y 1939 por los arquitectos Josep Lluís Sert, Josep Torres Clavé y Joan Baptista Subirana (integrantes del GATPAC, el Grupo de Arquitectos y Técnicos Catalanes para el Progreso de la Arquitectura Contemporánea), el grupo de viviendas obreras Casa Bloc es un ejemplo de la arquitectura racionalista catalana en el Districte de Sant Andreu, al este de Barcelona.

Jardines interiores de Casa Bloc

Construída durante la II República (1931-39) y promovida por el Comisariado de la Casa Obrera, organismo de la Generalitat de Catalunya, las más de 200 viviendas funcionales fueron planificadas para obreros de fábricas circundantes, aunque éstos nunca llegaron a mudarse pues en 1936 empezó la Guerra Civil y las viviendas aún no estaban acabadas. En su lugar, fueron ocupadas por familias de militares, y en 1948 se añadió un bloque más en uno de los patios (el Bloque fantasma), rompiendo completamente con el diseño original del edificio en forma de 'S' invertida, que aprovechaba la luz y la ventilación natural en todas las partes de la vivienda, evitando utilizar patios de luces como ocurre en las viviendas del Eixample barcelonés, por ejemplo. En este nuevo bloque vivieron militares, viudas de militares, y más adelante policías nacionales e incluso se construyeron dos caballerizas.

Jardines del GATPAC. En este terreno se construyó el Bloque Fantasma.

Desde finales de Marzo 2012, el Disseny Hub de Barcelona gestiona visitas a Casa Bloc (€3 Euros, hay que reservar plaza aquí. El tour dura 20 min. dentro de una de las viviendas y unos 40 min. afuera). La vivienda que se visita es la número 11, y está en el primer piso del bloque 2. Cuenta con una cocina, un lavabo, un lavadero con ducha (estos últimos con la tradicional volta catalana), el salón comedor, la terraza y dos dormitorios en la planta superior (otras viviendas llegan a tener 4) repartidos en 60m2. El bloque tiene ascensores y pasillos internos desde donde los inquilinos cuelgan la ropa o decoran sus entradas con plantas.

La guía muestra una imagen del Plan Macià de 1934 que pretendía construir un laberinto de viviendas que seguían el patron de Casa Bloc y que unirían el Eixample (izquierda) con la zona industrial al este de Barcelona.

Imagen de la planta de Casa Bloc en forma de 'S' que permitía que las viviendas tubiesen luz y ventilación natural y jardines a ambos lados.

Imagen de la Casa Bloc en los años 40. En el centro de la imagen se ve la construcción añadida del llamado Bloque Fantasma en pleno Jardín GATPAC, que finalmente se demole en el 2008.

El piso-museo ha sido reformado para mostrar su aspecto original: se ha recuperado el suelo original que estaba debajo del parquet que colocaron los inquilinos anteriores, se ha remodelado la escalera metálica que tenía azulejos en los escalones y recuperado la barandilla original (el pasamanos estaba recubierto con madera), pintado paredes de colores neutros eliminando el papel anterior, etc. y se han recuperado elementos originales como la cocina, el plato de ducha, los interruptores eléctricos o las manillas de las puertas.

Reforma de la fachada y ventanales. A la derecha el diseño original con la barandilla naranja y las persianas enrollables y a la izquierda la reforma actual.

Señalética a la entrada del piso-museo.

Pasillo interno en el primer piso.

Visitantes entran al piso-museo en el primer piso. Las ventanas a ambos lados de la puerta de entrada dan luz natural a la cocina (izquierda) y al lavadero (derecha).

Comedor con mesa Breuer y sillas Thonet.

Balcón con el cerramiento original que se abría completamente hacia la terraza.

Comedor visto desde la escalera.

Habitación en el piso superior.

El mobiliario que se muestra en este es de los años 30 (mesa de Breuer, sillas plegables de Thonet, camas alemanas con cabeceras metálicas...), recuperando el estilo original del mobiliario de la época publicado en la revista A.C. Documentos de Actividad Contemporánea (dirigida por Clavé y Sert, dos de los arquitectos de Casa Bloc). No obstante esta introducción de racionalismo centro-europeo en el mobiliario, los arquitectos quisieron incorporar el estilo mediterráneo en la arquitectura: las ventanas/puertas que separaban el comedor de la terraza originalmente se abrían y plegaban por completo hacia el exterior ampliando de manera fluída el salón-comedor hacia el Passeig Torras i Bages, y aprovechando su orientación al este que permitía obtener mayor luz durante todo el día (tres persianas enrollables regulan la entrada directa del sol y preservan la intimidad). Cuando se proyectó el bloque habían unos terrenos con huertos justo enfrente así como una masía que fue comprada por el Ajuntament en 1930 convirtiéndola en la escuela Ignasi Iglesias y, según el testimonio de un ex-inquilino de Casa Bloc durante la visita, había una fábrica de piratécnia y explosivos más allá de los huertos, hacia el Rec Comtal.

En 1992 conjunto arquitectónico fue declarado Bien de Interés Cultural y en 1997 empezaron las obras de remodelación que se extendieron hasta el 2008, cuando finalmente se derribó el Bloque Fantasma. La actual remodelación ha obviado por completo mantener el diseño original de las terrazas y todos los pisos se han cerrado con grandes ventanales de aluminio y persianas marrones. No obstante se siguen manteniendo los espacios verdes en ambos patios. Tal y como se planificó, todos los pisos son de alquiler y algunos de sus inquilinos son familias que ocuparon el Bloque Fantasma y han sido realojadas aquí y otros son viviendas sociales.

Más info aquí y reciente foto-reportaje "La Casa Bloc, un museo del racionalismo catalán", en el suplemento El Viajero de 'El País', 22 Marzo 2012.

Casa Bloc desde la calle de l'Almirall Pròixida.

Vista de la zona desde c/ del Palomar. Al fondo a derecha se ve la cúpula de la Parroquia de Sant Andreu de Palomar.

When did we start being 'Contemporary'? Peter Osborne's MACBA lecture

2012-04-13T16:32:00.002+02:00

Peter Osborne lecture at MACBA, 12 April 2012. Photo: Latitudes

Yesterday at MACBA, Peter Osborne made a sparkling analysis of the emergence of 'contemporary' as a fully critical art term. Starting from the "decisive and devastating" hinge of Tino Sehgal's 2005 "This is So Contemporary", Osborne, the Professor of Modern European Philosophy at Kingston University London, asked what it implies to be making a claim to being 'contemporary' beyond being "the up-to-date", the "new".

Tracing a genealogy of 'contemporary' from its first emergence in post-war Britain, with the founding of the Institute of Contemporary Art in London in 1946 ("to be contemporary in 1946 was very avant-garde!") through The Boston Museum of Modern Art changing its name to become the Institute of Contemporary Art in 1948, he charted how it disengaged from the 'modern', yet was then eclipsed by the 'postmodern' as the term of choice for the condition of the new in the 1980s. 'Contemporary', he argued, found its feet as a term of "disjunctive temporality" which also provided space for the 'repressed' modernities of the "event-concept transmedia tradition" (Fluxus, Dada, etc.). Whereas the questions asked of the Modern work of art is "What does this negate?", one asks of the Contemporary work "When did the present of this work begin?".

"The present began in 1989, because previously the present began in 1945", concluded Osborne (dismissing Giorgio Agamben's 'What is the Contemporary?' as "weak" along the way), noting that publishers Phaidon would not allow any pre-1945 works by Duchamp to be illustrated in his "Conceptual Art" as the series was about contemporary art.

Yet, surely different geo-political contexts propose different contemporaneities? Osborne talked about a philosophical and cultural debate in Japan asking 'has the post-war ended yet?' Similarly from a Spanish perspective, we might ask ourselves when did our present begin? After Franco's death in 1975? In 1979?

Latitudes promotional tie-in: With similar philosophical and art-historical aplomb Osborne presents his thoughts on the ubiquity of the term 'project' in contemporary art in his essay for the Latitudes-edited Amikejo, accompanying the exhibition series at MUSAC's, Laboratorio 987."The idea of ‘project space’ is a peculiar one insofar as it characterizes a type of space wholly by its appropriateness for a particular kind of temporalization: the temporalization of the project. What is the distinctive spatialization corresponding to this? And how is it affected by the specifically artistic coding of a project? This essay will reflect upon these questions from the standpoint of both their philosophical structure and the historical development of project space as a type of art space."

Mousse Publishing and MUSAC release the publication 'Amikejo' edited by Latitudes

2012-04-10T16:34:00.000+02:00

Publication in front of MUSAC's façade, León. Photo: Carlos Ordás.

The publication concludes the 2011 exhibition cycle 'Amikejo' curated by Latitudes, which included exhibitions by Pennacchio Argentato; Iratxe Jaio & Klaas van Gorkum; Uqbar (Irene Kopelman & Mariana Castillo Deball and Fermín Jiménez Landa & Lee Welch at the Laboratorio 987, the project space of the Museo de Arte Contemporáneo de Castilla y León (MUSAC).

Inside the publication: section dedicated to Pennacchio Argentato.

As advanced in previous posts, the publication includes essays by:

Peter Osborne (Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy at Kingston University London) text "‘Fragments of the future’: Notes on project space" centres on the idea of ‘project space’ as a peculiar one insofar as it characterizes a type of space wholly by its appropriateness for a particular kind of temporalization: the temporalization of the project. What is the distinctive spatialization corresponding to this? And how is it affected by the specifically artistic coding of a project?;

Ryszard Żelichowski (Professor and Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences) text "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna" offers an overview of how Neutral Moresnet (the state 'renamed' Amikejo in 1908) came into existence;

Pages with Ryszard Zelichowski's essay on the history of Neutral Moresnet/Amikejo.

Theo Beckers (Former Professor of Leisure Studies at Tilburg University and currently faculty member of the Tilburg Sustainability Center and Visiting Professor of the Chinese Academy of Sciences) text "Free time. The rise and fall of a social project" traces western society’s relation to work and time, from Seneca the Younger, through the rise of the factory and Frederick Winslow Taylor's 'The Principles of Scientific Management' (1911), to today's blurring of labour and leisure;

Pages with Theo Beckers' essay.

Menno Schilthuizen (Research scientist at NCB Naturalis, an endowed chair for Insect Biodiversity at the University of Groningen and an Associate Professor at Leiden University) contributed a text "On Mirror Images in Nature: How Identical Forms Can Be Completely Different" reflects on Uqbar's exhibition centered on chirality: on how in asymmetric animals and plants, sometimes both mirror-image forms exist side by side, but sometimes only one exists, the other being "forbidden";

Pages dedicated to Uqbar and to Prof. Dr. Menno Schilthuizen's essay.

as well as texts on each project by exhibition curators Latitudes, reprints by Giorgio Agamben ('Notes on Gesture', 1996) and Georges Perec (excerpts from "Species of Spaces and Other Pieces Gesture", 1974), installation views and biographies of the participating artists.

Pages with Georges Perec's reprint.

Pages with installation views of Pennacchio Argentato's exhibition.

Pages with spanish translations.

More info on the exhibition series, and photos of the shows by Pennacchio Argentato, Iratxe Jaio & Klaas van Gorkum, Uqbar (Irene Kopelman & Mariana Castillo Deball) and Fermín Jiménez Landa & Lee Welch (see performance)

'Amikejo' publication, beginning to end. Photos: Mousse Publishing

Title: Amikejo

Edited by: Latitudes

Publisher & Distributor: Mousse Publishing

Format: 22.5x15.5cm, 216 pp., hardcover

Language: English and Spanish

Publication date: April 2012

ISBN: 9788896501832

Price: 26 Euros

(Part 3) Latitudes interviewed for "Radio For Example, part 2: R22-Dubai", a project by the Curatorial Delegation for Art Dubai 2012 and The Pavilion Downtown Dubai

2012-04-06T15:10:00.000+02:00

Car where the interviews led by the Curatorial Delegation took place.

Latitudes was interviewed for Radio For Example by curator and writer Juan A. Gaitán, member of the Curatorial Delegation together with Rabat’s L’Appartement 22founder Abdellah Karroum, organisers of "Radio For Example, part 2: R22-Dubai" one of the projects of this year's Art Dubai (see more on the fair in this previous post). Radio For Example consists on a temporary nomadic recording studio in a car that will be circulating throughout Dubai, taking people between different art spaces, public transportation stations and homes, while conducting a series of dialogues and interviews with artists, curators and practitioners aimed at exploring the ways in which individuals engage with notions of the collectiveand operate within institutional frameworks.

Juan A. Gaitán holding the mic and conducting the interview.

Privileging the active role of the listener in the construction of knowledge, Radio 22 documents a series of discussions carried out in different places (Morocco, Medellín and now in Dubai) through live engagement with these specific social, geographic and political environments.

The interview-on-wheels took place on March 21, between Art Dubai and The Pavilion Downtown, where Gaitán also curated the yearly 40-metre banner commission by Lebanese–Egyptian artist Lara Baladi. We'll post a link to the audio once it's uploaded here.

Banner commission at The Pavilion Downtown Dubai by artist Lara Baladi.

Juan A. Gaitán and Mariana Cánepa Luna of Latitudes arrive at the final destination: The Pavilion Downtown, in the background Burj Khalifa, (so far) the tallest building in the world.

Curatorial Delegation tote bag.

The Pavilion Downtown, a non-profit contemporary art space in downtown Dubai, also hosted the exhibition 'Living with video' curated by Paris-based gallerist Chantal Crousel, which featured 15 video works of artists Jennifer Allora & Guillermo Calzadilla, Melik Ohanian, Hassan Khan, Fikret Atay, Wang Bing, Gabriel Orozco, Mona Hatoum, Anri Sala, Wolfgang Tillmans, all represented by the French gallery.

Terrace of The Pavilion Downtown

Open cafeteria/restaurant and library space

Library space. On the shelf a TV screens Gabriel Orozco's animation "Samurai Tree Animation" (2007)

Wi-fi lovers in the library

Open lounge/cafeteria

Chantal Crousel gives an introduction to the 'Living with video' show (17 March – 30 June 2012)

Cinema space screening the 16/9 Wang Bing's film "Man with no name", 2009.

Gallery 2 with works by Fikret Atay, Anri Sala, Melik Ohanian and a plasma screen with a looped selection of the films.

Radio For Example, part 2: R22-Dubai

A project by the Curatorial Delegatation (Juan A. Gaitán & Abdellah Karroum)

Streamed on Radio Apartement 22 and presented at Art Dubai and The Pavilion Downtown.

–

The Pavilion Downtown Dubai

Emaar Boulevard, Downtown Dubai

Dubai, United Arab Emirates
art@pavilion.ae

T (+971) 4447 7025

Opening: Everyday, 10am–12am

pavilion.ae

Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews

2012-03-28T10:00:00.000+02:00

Cover of the publication.

We just received a copy of the wonderful and long-awaited publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) for which Max Andrews of Latitudes contributes the essay "A Dark Spot of Exasperation: From Smithson to the Spime" (an essay which was the basis of his recent lecture at the Royal College of Art in London).

Pages 44-45, with the section "Art, Research, Ecology".

Robert Smithson's seminal Land Art work Broken Circle/Spiral Hill (Emmen, The Netherlands, 1971) is treated as a case study which opens up to a number of topics, still relevant in contemporary art: 'Models of Spectatorship', 'Art, Research, Ecology', 'Documentation', 'Museum, Media, Society' and 'The Cinematic'."

Above: pages with Max Andrews' essay "A Dark Spot of Exasperation: From Smithson to the Spime".

Max Andrews' essay "A Dark Spot of Exasperation: From Smithson to the Spime".

In his text Andrews stresses that Smithson's innovations in terms of post-studio practice ar not about "the question where, or what is the work of art?", but about investigationg the structure of the multiple elements which constitute the form of an art project and its place in the world. According to Andrews, the essential feature of Smithson's kinship to post-studio practice is not so much his institutional critique, but a move away from the museum and the curator as existing power structures to a "curatorial function which incorporates a social ecology: a new meaning- and value–generating system in and around art." In his essay Andrews traces the points of congruence between Smithson and the practices of contemporary artists like Lara Almarcegui, Jorge Satorre and Cyprien Gaillard.

Documentation pages, clippings from 1987.

Pages 150-151, Section "A Living Archive – Film"

Page 194-195, Section "A Living Archive"

Pages 208-209, Section "A Living Archive"

The 240 page monograph publication will be launched on 30 March 2012 in The Hague during the symposia Rethinking Robert Smithson organised by the publishers in cooperation with Leiden University Institute for Cultural Disciplines.

Initiator and publisher: Alauda Publications
Edited by: Ingrid Commandeur and Trudy van Riemsdijk-Zandee
Authors: Max Andrews, Eric C.H. de Bruyn, Stefan Heidenreich, Sven Lütticken, Anja Novak, Vivian van Saaze
Design: Esther Krop
ISBN: 9789081531481

Price: 39,95 Euro
Available in bookshops or order online: alaudapublications.nl

–

Related links: September 2011 blog post on The Land Art Contemporary programme in Denthe, The Netherlands.

All photos: Latitudes | www.lttds.org

(Part 2) In pictures: Art Dubai, 21–24 March 2012

2012-03-26T20:54:00.001+02:00

One of the entrances to Art Dubai.

After concluding the three days of the 2012 March Meeting in Sharjah (see part one of our Emirati posts), we made our way to the neighbouring Emirate to visit Art Dubai (21–24 March), which took place at the Madinat Jumeirah hotel resort.

View of the Madinat Jumeirah hotel resort where Art Dubai took place.

Opening of Art Dubai. Busy hall of the Madinat Jumeirah hotel.

Corridors of Art Dubai. Right: Lombard Freid Projects, New York.

Corridor of Art Dubai. Left: Green Cardamom Gallery showing Ayaz Jokhio, Nazgol Ansarinia and Anwar Jalal Shemza.

Entourage of Sheikh Hamdan bin Mohammed bin Rashid al Maktoum, crown prince of Dubai leaves the fair.

Low point: large paintings of horses’ heads presented on easels adorned the entrance to the fair.

Cartier lounge. Two models pose wearing jewels of the luxury firm.

Global Art Forum 6 "The Medium of Media" directed by writer, curator, Editor-at-Large at Tank magazine and contributing editor at Bidoun magazine Shumon Basar was co-hosted by the Mathaf: Arab Museum of Modern Art, Doha (18–19 March) and was followed by four consecutive days during Art Dubai (21–24 March).

On stage (left to right) Douglas Coupland, Shumon Basar and Hans Ulrich Obrist.

Full house with the keynote by Douglas Coupland.

The programme was the real highlight of Art Dubai and included a focused and well-balanced programme of guests (novelists, curators, artists, journalists, filmmakers, commentators, film producers...) and formats (interviews, 15 minute readings, presentations of commissions). Amongst the highlights was a panel with Canadian novelist and artist Douglas Coupland who discussed Marshall McLuhan’s legacy alongside Shumon Basar and Hans Ulrich Obrist; Michael Rakowitz's dialogue with Jack Persekian on their collaboration for 'The Breakup', a project which revolved around the intricacies of The Beatles' 1969 breakup, taking the form of a ten-part radio programme that took place in Ramallah's Radio Amwaj in 2010; and the PowerPointsTM Your Creative Medium Potencial (CMP) series of commissions curated by Victoria Camblin, which included powerpoint works by writers and artists Ayshay+Kari Altmann, Douglas Coupland, Goldin & Senneby, LuckyPDF (see their "School of Global Art" web and powerpoint) and Alex Provan (Triple Canopy).

Shumon Basar (left) photographing the audience and tweeting #GAF2012; Hans Ulrich Obrist (right).

Global Art Forum 6, 22 March: Conversation between Georgina Adam, Art Market Editor at The Art Newspaper and Art Marker correspondent at The Financial Times, and geo-strategist/author Parag Khanna - discussed how information shapes value in the financial marketplace and the differences between the art and the financial market.

Journalist and Bidoun's editor Negar Azimi asking "What is to be done by artists in the face of turbulent historical times when it's the media, arguably, that posseses today's power to shape our imaginations and idealogies the most".

Jack Persekian (left) and Michael Rakowitz (right) discuss their collaboration for 'The Breakup", a multi-part event at the Al-Ma’mal Foundation for Contemporary Art, Jerusalem.

The Abraaj Art Capital Prize exhibition at Art Dubai, with works by Taysir Batniji, Joana Hadjithomas & Khalil Joreige (who had a solo show at The Third Line), Wael Shawky, Risham Syed, and Raed Yassin. Curated by Nat Muller.

Elsewhere in Dubai, The Third Line gallery presented the exhibition "Lebanese Rocket Society: Part III, IV, V" by 2012 Abraaj Capital Art Prize winners, Joana Hadjithomas and Khalil Joreige.

The Pavilion Downtown Dubai hosted the show "Living with Video" curated by Paris-based galleriest Chantal Crousel and a banner commission by Lara Baladi curated by Juan A. Gaitán. More on the exhibitions at The Pavilion Downtown on our following post.

Sheikh Zayed Grand Mosque, Abu Dhabi, is the third largest mosque in the world fits over 7,000 worshippers...

...and features the world’s largest hand-knotted carpet hand-crafted by 1,200 artisans in Iran, 7 gold-coloured chandeliers from Germany made of thousands of Swarovski crystals from Austria and glasswork from Italy...

...1,000 columns in its outer areas cladded with more than 20,000 marble panels inlaid with semi-precious stones, including lapis lazuli, red agate, amethyst, abalone shell and mother of pearl... phew!...

Our final visit: Manarat Al Saadiyat a 15,000 sqm venue with an exhibition about the Saadiyat Cultural District, which in the future will host the Zayed National Museum, the Louvre Abu Dhabi by Jean Nouvel, the Guggenheim Abu Dhabi by Frank Gehry and The Performing Arts Centre by Zaha Hadid (see maquettes below). Besides the exhibition of a timeline of Abu Dhabi's history and impressive panoramic screens, the show is a place for international hotels and resorts chains (Mandarin, St. Regis, Park Hyatt...) to present their maquetes and 3D renderings of future facilities nearby the museums. Two days before our visit Human Rights Watch reported that "Abuses Are Continuing" for Workers at Abu Dhabi's Museum Island.

More images on Art Dubai and Abu Dhabi:

(Part 1) In pictures: Fifth March Meeting, 17–19 March 2012, Sharjah, United Arab Emirates

2012-03-25T20:06:00.000+02:00

Sign marking directions to the March Meeting venues.

Latitudes participated in the March Meeting (17–19 March 2012), a three-day symposium organised by the Sharjah Art Foundation which featured presentations by around 80 artists, art professionals and institutions working around the production and presentation of art. The programme of this fifth edition focused on Working With Artists and Audiences on Commissions and Residencies and comprised a series of lectures, debates and breakout sessions that took place in Dar Al Nadwa and other locations around Sharjah's Heritage Area.

Arrival day – Tour to the Barjeel Art Foundation (collection of Sultan Bin Sooud Al-Qassemi) and the Maraya Art Centre, Al Qasba.

Opening of the exhibition "Ziad Antar: Portrait of a Territory" by Lebanese artist Ziad Antar, Collections Building, Heritage Area, Sharjah. Curated by Christine Macel, Chief Curator, Musée National D’Art Moderne Centre Pompidou Paris.

Day 1 – Registration desk at Dar Al Nadwa in Sharjah's Calligraphy Square, the venue where most of the talks took place.

As announced in a previous post, Latitudes presented on the first day two case studies of commissions and residencies as participants in the panel "Minding the Gap: the Critical Role of Smaller Organisations" alongside Hu Fang (Vitamin Creative Space, China), Daniella Rose King (MASS Alexandria, Egypt) and moderated by Samar Martha (ArtSchool Palestine, Palestine).

Panel "Minding the Gap: the Critical Role of Smaller Organisations". Photo: Alfredo Rubio/Sharjah Art Foundation

Latitudes during their presentation. Photo: Alfredo Rubio/Sharjah Art Foundation.

Firstly, Latitudes introduced the commission in the context of 'Portscapes' that was developed from its invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA) to live and work for a month in Rotterdam's Maasvlakte, and secondly, presented a commission addressed to Latitudes in the context of 'The Last Newspaper' in which we worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition.

Lunch breaks took place at the beautiful Bait Al Naboodah, a two-storey house from 1845.

Plaque marking the entrance to the Bait Obaid Bin Eissa Al Naboodah house.

Guests were treated to wonderful Emirati food.

At the end of the first day, the film "1395 Days without Red" by Anri Sala was premiered at Sharjah's Institute of Theatrical Arts. Šejla Kameric's film was screened on the 18 March at the courtyard of Bait Al Shamsi, Arts Area, Sharjah. Commissioned by UK's Artangel.

Second day – Panellists getting ready for the discussion on "The Importance of Site". With Yusaku Imamura (Tokyo Wonder Site, Japan), Adam Sutherland (Grizedale Arts, UK), Khalil Abdulwahid (Dubai Culture and Arts Authority, UAE), Lu Jie (Long March Space, China) and moderated by Anne Barlow (Art in General, USA).

Day 2 – Panel "Artist as nomad" with Basma Alsharif, Ziad Antar, Šejla Kamerić, Nikolaj Bendix Skyum Larsen and moderated by Sama Alshaibi (University of Arizona, USA).

Day 3 – Panel "The Biennial as Commissioning Agent" with Paul Domela (Liverpool Biennial, UK), Yuko Hasegawa (Museum of Contemporary Art Tokyo, Japan & curator of the forthcoming Sharjah Biennial 2013), Abdellah Karroum (independent art researcher, publisher and curator, Morocco), Riyas Komu (Kochi Biennale Foundation, India) and moderated by Marieke van Hal (Biennial Foundation, Greece).

Sheikha Hoor Al-Qasimi, President of the Sharjah Art Foundation, giving her closing remarks of the March Meeting 2012.

Day 3 – Final drinks and snacks at Bait Al Naboodah before Takek Atoui's performance at the Calligraphy Square. During the drinks Sheikha Hoor Al-Qasimi announced the recipients of the 2012 Production Grants worth a total of 200,000 U$: Sean Gullette, Mario Rizzi and Lindsay Seers. The grants were judged by PS1 curator Peter Eleey, artist Isak Berbic, and Sharjah Art Foundation President Hoor Al Qasimi. More here.

Impressive setting for Tarek Atoui's perforamnce "Revisiting Tarab" at the Calligraphy Square. Photo: Sharjah Art Foundation.

Tarek Atoui's (Lebanon 1980, lives in Paris) 5.5-hour-long incredible performance "Revisiting Tarab" involved the participation of 17 musicians and sound artists. Atoui writes:

"Tarab" is used in Arab culture to describe the emotional effect of music, and refers to the older repertoire rooted in teh pre-World War I musical practice of Egypt and the East Mediterranean Arab world. In the occasion of Performa 2011, Atoui invited musicians and sound artists to travel to Beirut to explore the world's most extensive collection of Classical Arab music owned by Lebanese collector Kamal Kassar, which comprises over 5,000 old 78rpm shellac discs and tapes dating from 1903 to 1950s. Participants selected excerpts from the collection and independently composed their own interpretations of both the content and its possibilities in relation to the history of "Tarab".

(...) The stucture and orchestration of the "Re-visiting Tarab" performance is inspired by the rules of the traditional wasla –literally meaning a connection or chaining together. In Egyptian music and Near East is a suite of several vocal and instrumental pieces composed and improvised anchored to the same maqam or harmonic mode– that combiles and shifts between musical forms such as the dulab – a short melodic and rhythmic introduction – the taqsim – an instrumental solo improvisation– and the muwashah – a song based on an Arab-Andalusian or Oriental poem. The performance was produced by Sharjah Art Foundation with the support of AMAR Foundation. More info: http://www.visitingtarab.com

20 March: Guests waiting to take the bus to Kalba opposite the Sharjah Art Museum.

On the last day a group of guests and journalists were taken 110km from Sharjah city to Kalba, the third most important city in the Emirate, on its east coast, whose road extends up to the border with Oman. Here the Sharjah Art Foundation is currently readapting a 200m2 concrete building by the creek to become the Kalba Art Centre, planned to open in a years time. (Ziad Antar’s ongoing exhibition "Portrait of a Territory" at Sharjah's Collection Building, includes photo documentation of this coastline taken between 2004 and 2011.)

Judith Greer, Associate Director of International Programmes at the Sharjah Art Foundation,

holds a map of the area where Kalba's future art center will be while Hisham Al Madhloum, director of the Sharjah Directorate of Art, points out the location and particularities of Kalba and its surroundings.

Bus nearby Kalba's creek, a mangrove swamp.

The future site of the Kalba Art Centre occupies a total area of 13,000 m2 and in the 1970s was originally intended to be used as a fish fertiliser factory but is now intermittently used as an ice factory and a boat repair shop. The former factory will have a space for exhibitions, a cafeteria, spaces for workshops and host artist residencies, and will be managed and programmed by the Sharjah Art Foundation.

Façade of the future Kalba Art Centre. This triple height pitched space overlooks the protected mangroves and heritage area across the creek.

Interior space of the future Kalba Art Centre.

Back in Sharjah we did a final tour to see the show "What should I do to live in your life?" at Bait Al Serkal, opposite the Sharjah Art Museum, which presented film works by Lee Kit, Minouk Lim, João Vasco Paiva, Part-time Suite and Yuk King Tan.

Entrance to Bait Al Serkal exhibition space.

More images of the fifth March Meeting and other Sharjah events on flickr:

Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London

2012-03-12T09:00:00.000+01:00

Poster announcement at the Royal College of Art galleries.

On Tuesday 13 March (2pm, Lecture Theatre 1), Max Andrews of Latitudes will give the lecture "From Spiral to Spime: Robert Smithson, the ecological and the curatorial" as part of the "Art and Globalisation" lecture series programmed by MA Curating Contemporary Art by Jean Fisher and Michaela Crimmin.

Starting out from Robert Smithson's Broken Circle / Spiral Hill (1971), this lecture looks at projects by Lara Almarcegui, Jorge Satorre and Cyprien Gaillard to speculate on the 'when' and the 'shape' of art after Smithson in relation to synchronic concepts of post-environmental ecological thinking, and the flux between work and curatorial context. Based on an essay in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (Alauda Publications, 2012).

Robert Smithson, Broken Circle/Spiral Hill. Opening September 17, 2011. Emmen, The Netherlands. Photo by Jan Anninga. Courtesy SKOR.

Following the lecture, Andrews will lead a seminar to first years students of the MA Curating Contemporary Art, Royal College of Art. [Please note that the lecture is only open to students and staff of the college.]

Tuesday 13 March 2012, 2pm

Lecture Theatre 1

Royal College of Art

Kensington Gore

London SW7 2EU, UK

Latitudes participates in the fifth annual March Meeting organised by Sharjah Art Foundation, 17–19 March 2012, Dar Al Nadwa, Heritage Area, Sharjah

2012-03-06T10:30:00.000+01:00

Latitudes' 3-month residency at the New Museum in 2010. Photo: Latitudes

FGA month residency at the Maasvlakte in 2009. Photo: FGA

March Meeting, a three-day symposium featuring presentations by artists, art professionals and institutions on the production and dissemination of art. March Meeting 2012: Working With Artists and Audiences on Commissions and Residencies will take place March 17–19, in Sharjah's scenic Heritage Area.

Latitudes will present two case studies of commissions and residencies. Firstly, a Latitudes commission in the context of 'Portscapes' that was developed from their invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA). Based from a shipping container the extremity of Rotterdam port for a month, FGA initiated a temporary web radio and research station. And secondly, a commission addressed to Latitudes in the context of 'The Last Newspaper' in which the curatorial duo worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition. Both residencies explored editorial and curatorial approaches as well as formats of publishing or broadcasting and highlight how small organisation can operate flexibly and critically within a larger structure – whether a huge industrial infrastructure project or a museum exhibition.

Speakers of the three-day symposium include: Abed Al Ju'beh, Director, Khalil Sakakini Cultural Centre (KSCC) (Palestine); H.E. Abdul Rahman Al Owais, UAE Minister of Culture; Noura Al-Sayeh, Architect & Curator (Bahrain); Palmina D'Ascoli, Manager of Department of Residencies, Institut Français (France); Shezad Dawood, Artist; Peter Eleey, Curator, MoMA/PS1 (USA); Amal Khalaf, Edgware Road Project: Assistant Curator of Serpentine Gallery (UK); Yuko Hasegawa, Chief Curator, Museum of Contemporary Art, Tokyo (MOT) (Japan); Louise Hui-Juan Hsu, Curator, Museum of Contemporary Art Taipei (Taiwan); Danda J, Director, Kuona Trust Centre for Visual Arts (Kenya); Lu Jie, Founder & Director, Long March Space (China); Eungie Joo, Curator, New Museum (USA); Riyas Komu, Director of Programmes, Kochi-Muziris Biennale (India); James Lingwood, Co-Director, Artangel (UK); Salwa Mikdadi, Head of Arts & Cultural Program, Emirates Foundation (UAE); Ayeh Naraghi, Cultural Programmes Specialist, UNESCO Doha Office (Qatar); Susan Pfeffer, Curator, KW Institute for Contemporary Art (Berlin); Andrea Rose, Head of Visual Arts, British Council (UK); Beatrix Ruf, Director/Curator, Kunsthalle Zürich (Switzerland); Anri Sala, Artist; Ramin Salsali, Founder, Salsali Private Museum (UAE).

The March Meeting and related events are free and open to the public. Registration is recommended at marchmeeting@sharjahart.org Read more here.

March Meetings 2012
Dar Al Nadwa, Heritage Area
Sharjah
United Arab Emirates

Selected press coverage of 'The Dutch Assembly' at ARCOmadrid 2012

2012-02-22T17:16:00.001+01:00

Rubén Grilo during his performance at 'The Dutch Assembly'. Space designed by Jasper Niens and Thijs Ewalts. Photo: Latitudes | www.lttds.org

(ES) Bea Espejo, "ARCO 2012, cifras y letras", El Cultural online, 23 November 2011

(UK) "Talks, panels, discussions, presentations and analysis on art and collecting", e-flux, 11 January 2012

(UK) The Netherlands is the guest country at ARCOmadrid 2012, art-agenda.com, 13 February 2012

(ES) "ARCO 2012: Entrevista a Latitudes, comisarios de "The Dutch Assembly", Blog www.camilayelarte.blogspot.com, 15 Febrero 2012

(ES/UK) Álvaro Calleja, 'Un puente entre dos naciones/A bridge between two nations', ABCDArco, 16 Febrero 2012, p.7

(ES) Roland Groenenboom, "Holanda, reinventarse para sobrevivir", El Cultural, 17 Febrero 2012

(ES/UK) 'Kunstbeeld interviews Latitudes', special ARCOmadrid 2012 issue y en español aquí

(UK) Jolien Verlaek, "State of the arts: Spain - the Netherlands. Interview Mariana Cánepa Luna", Metropolis M, 18 February 2012

(ES) Entrevista con Mariana Cánepa, www.masdearte.com, 18 Febrero 2012

All photos: Latitudes | www.lttds.org

Videos ('The Dutch Assembly' related events/participants):

(ES) Entrevista a Lara Almarcegui, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Mariana Cánepa, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Adrià Julià, www.hoyesarte.tv, 18 Febrero 2012

'Care', performance by Rory Pilgrim at 'The Dutch Assembly' at ARCOmadrid, Metropolis M

–

+ info: The Dutch Assembly and programme details here

Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h

2012-02-14T22:40:00.000+01:00

Cover of the publication edited by Latitudes. Photo: Latitudes.

Title: 'Lara Almarcegui. Projects 1995–2010'

Editor: Latitudes

Publisher & Design: Archive Books, Berlin

Texts: Cuauhtémoc Medina, Lars Bang Larsen and Latitudes

Format: 224 pages, colour, 21 x 27.5 cm. Black-and-white and colour illustrations. Flexicover, English.

ISBN: 978-88-95702-05-6

Published by Berlin-based Archive Books, 'Lara Almarcegui. Projects 1995–2010' is the first monograph presenting an overview of the last fifteen years of Almarcegui's artistic practice. The main part of the publication is formed by detailed documentation of the artist’s works and publications companioned by new descriptive texts written by the editors and the artist. These are presented in the following sections: ‘Demolition’, ‘Excavation’, ‘Construction materials’, ‘Ruins’, ‘Wastelands’ (survey, access, and preservation). (+ info...)

Lara Almarcegui (1972, Zaragoza. Lives and works in Rotterdam, the Netherlands) has had solo shows at Künstlerhaus Bremen, Bremen (2011); Centro Andaluz de Arte Contemporáneo, Sevilla (2011); TENT, Rotterdam (2011); Secession, Vienna (2010); Ludlow 38, New York (2010); the Centro Arte Contemporaneo, Málaga (2007), FRAC Bourgogne, Dijon (2004) and at INDEX, Stockholm (2003). She participated in group exhibitions such as Radical Nature – Art & Architecture for a Changing Planet 1969-2009, Barbican, London (2009); Taipei Art Biennial, Taiwan (2008); Estratos, Murcia (2008); Sharjah Art Biennial 8, Sharjah (2007); 27th São Paulo Bienal, São Paulo (2006); Frieze Art Fair Projects, London (2006) and the Liverpool Biennial (2004). In 2008 she presented the guidebook 'Ruins in the Netherlands XIX-XXI' published by Episode. Almarcegui studied Fine Arts in Cuenca (1991–95) and at the Ateliers 63, Amsterdam (1996–98). She has recently been awarded the Dolf Henkes Prize, Rotterdam (2011). In 2012 Almarcegui will have solo shows at the Centro de Arte Dos de Mayo, Móstoles and the Museo de Arte Contemporáneo de Castilla y León (MUSAC).

Spreads of the publication:

Publication has been possible thanks to the support of the former Fonds BKVB (Netherlands Foundation for Visual Arts, Design and Architecture), currently Mondriaan Fund.

Interview with Erick Beltrán & Jorge Satorre, 'Atlántica' magazine #52

2012-02-13T10:00:00.000+01:00

Installation view of 'Modelling Standard' at Galeria Joan Prats, Barcelona. Jorge Satorre and Erick Beltrán (Illustrations by Jorge Aviña), “Modelling Standard”, 2010. 58 photocopies pasted on the wall. Variable dimensions. Courtesy of the artists.

In the current issue of the 'Atlántica' magazine #52 (to be launched on 16 February at 4pm, at the Sala de Amigos, Hall 8, ARCOmadrid), there is an interview between Erick Beltrán, Jorge Satorre and Latitudes conducted in November 2011 during the installation week of the exhibition at Galeria Joan Prats, Barcelona. Below an abstract of the 4,000 words on phantom limbs, microhistory, devil's drool, apophenia, collaboration, information systems, Sigmund Freud's dog Jo-Fi, collage, döppelgangers, Fantomas, mirror neurons, unorthodox research methods, validation...

– PART I –

Latitudes (L): Your exhibition at Galería Joan Prats in Barcelona is the latest instalment of your ModellingStandardproject, as well as being a group show which includes the work of other artists. [1] Where should we begin the story, where does it start for you?

Jorge Satorre (JS): At the core of Modelling Standardis our interest in the methodology proposed by Italian microhistory during the seventies as well as its precedents. Specifically, the essay of Carlo Ginzburg ‘Clues: Roots of an Evidential Paradigm’, which was published in 1979, functioned as one of the main pillars of our project. In the text, he tried to explain a new way of making history in which there are three basic methods to follow: first, reducing scale; second, in-depth investigations of the few sources at hand; and third, exploitation of hints and traces – working like a detective.^[2]Ginzburg supported his theory by alluding to the fathers of this paradigm: Sigmund Freud, Arthur Conan Doyle and Giovanni Morelli. These three people worked in very different fields, though they shared a medical background and operated in the manner of a detective: deciphering clues through symptoms and finding hidden meaning in details. From this trigger Erick and I started opening up a web of relations.

L: It is now a fascinatingly complex project which involves a whole host of characters and has evolved through an exhibition at FormContent in London in 2010, and a comic book which you produced for Casa Vecina in Mexico City earlier this year. Integral to the project are the amazing drawings of Jorge Aviña, who we’ll come onto specifically in a moment, which you commissioned as illustrations of certain concepts. But as Charles Fort said, ‘one measures a circle, beginning anywhere’... so, let’s pick one drawing and one character – Vilayanur Ramachandran?

Erick Beltrán and Dr. Vilayanur Ramachandran. Courtesy the artist.

Erick Beltrán (EB):Ramachandran represents a really curious phenomena that gets further explored in the comic – the analyses of the phantom limb and mirror neurons. He found out that there are cells in the brain that possess a representative image of our body. If those cells are electrically stimulated, one starts to feel different parts of the body. Via Wilder Penfield’s understanding of the part of the brain called the cortical homunculus, neuroscientists concluded that this representation is distorted, it’s not to scale with how the body really is. Some parts have more sensory neurons than others, hence they appear bigger in the brain’s body image: for instance the hands of ‘Penfield’s homunculus’ are too big and the torso is way too small.

L: What is the relation between the individual line drawings and the comic?

JS:For instance, the misperception Erick mentioned really became the centre of the comic, which is titled El Hallazgo del Miembro Fantasma (The Discovery of the Phantom Limb). The 58individual drawings were the first part of the project and are pasted on the wall like posters here in Barcelona as they were similarly in London. Their structure and relations are set out more like a draft. The comic is basically a story talking about the power of the images in which we incorporated some of the characters from the first part of the project.

L: The comic format must have posed a different challenge; rather than jumping from drawing-to-drawing as with the talk-performances you have done during the openings of the projects, a narrative has to be set out and digested in a linear way?

EB:We made a sort of ‘game of shadows’ with the comic by encompassing the narrative and the visual part. A novel however is something we are going to do at some point.

JS:The whole project has also set out a new problem for us: we began with the analysis of microhistory, yet as we mentioned before, now we realise this has evolved into considering the power of images. All the characters somehow tackle this problem in one way or another, and with the comic we created a detective story where the characters are victims and perpetrators around a crime related to images.It has been a ping-pong of ideas between us, but we have also let chance be a part of the process. We have had to confront our decisions and integrate characters. Jorge Aviña is the illustrator who, as you said, has produced all the drawings for the project, and we realised that he had a lot to do with Fantomas, a fictional character in a Mexican comic series of the 1960s, based on the French character Fantômas. One of the writers of Fantomas, Gonzalo Martré, who is now 84, becomes the criminal in our comic and also is the cowriter of El Hallazgo del Miembro Fantasma.

EB: By then we had realised we had gathered a sort of ‘dream team’ of what Fantomas could represent today.

Jorge Satorre and Erick Beltrán (Illustrations by Jorge Aviña), “Modelling Standard”, 2010.
58 photocopies pasted on the wall. Variable dimensions. Courtesy of the artists.

–

[1] Modelling Standard, an exhibition organized by Jorge Satorre and Erick Beltrán. Also participating: Christoph Keller, Raphaël Zarka, Paloma Polo, Bernardo Ortiz, Efrén Álvarez, Meris Angioletti, Jose Antonio Vega Macotela, Vilayanur Ramachandran, Jorge Aviña and Florian Göttke. Galería Joan Prats, Barcelona, November–December 2011.

[2] Carlo Ginzburg, ‘Clues: Roots of an Evidential Paradigm’, in Clues, Myths, and the Historical Method , translated by John Tedeschi and Anne C. Tedeschi (Johns Hopkins University Press, 1989), p. 102. The Italian edition is ‘Spie: Radici di un paradigma indizario’, in Aldo Gargani and Carlo Ginzburg, Crisi della ragione. (Einaudi, 1979).

Pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona

2012-02-06T20:45:00.000+01:00

Selección de artículos recientes entorno al pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona:

"Fontcuberta dice que cancelar el Canòdrom es un paso hacia un sistema artístico "totalitario", La Vanguardia, 6 Febrero 2012 (incluye video acción reivindicativa)

Roberta Bosco, "Los artistas visuales consideran pedir la dimisión de Ciurana", El País, 6 Febrero 2012

Bea Espejo, "El Canódromo en blanco", El Cultural, 6 Febrero 2012

(...) A las 16h, una manifestación convocada por la Asociación de Artistas Visuales de Catalunya pretende presionar a los políticos y hacerlos cambiar de opinión. Se leerá un manifesto y se pintarán de blanco los cristales del Canódromo, como se hace con los escaparates de los establecimientos cerrados. – Bea Espejo

Se empiezan a pintar los cristales del Canòdrom...

Lectura del manifiesto (leer aquí, en catalán) por Joan Fontcuberta, Presidente de l'Associació d'Artistes Visuals de Catalunya (AAVC):

Los medios entrevistan a Francesca Llopis, Vocal de l'Associació d'Artistes Visuals de Catalunya (AAVC):

...y una hora después...llegan los camiones de BCN neta

"Artistas se manifestarán el lunes a favor de que el Canòdrom sea centro de arte contemporáneo", La Vanguardia, 3 Febrero 2012

Elena Vozmediano, El día después, blog 'Y que tú lo veas', 3 febrero 2012

Acció en defensa del Canòdrom com a Centre d’Art Contemporani, blog Associació d’Artistes Visuals de Catalunya

Roberta Bosco, "Moritz Küng, el director amordazado", El País, 1 Febrero 2012

"Algunes conclusions de l’informe del Consell de Cultura de Barcelona sobre l’art contemporani", Blog http://soymenos.wordpress.com, 1 Febrero 2012

"El arte en Barcelona", Cartas al director, La Vanguardia, 23 Enero 2012

Elena Vozmediano, El neodirigismo catalán, blog 'Y que tú lo veas', 21 Noviembre 2011

Fotos: Latitudes | www.lttds.org

Mobile-friendly version of the 'The Dutch Assembly' ARCOmadrid programme

2012-01-29T22:54:00.005+01:00

'The Dutch Assembly''s day-by-day programme is available here for mobile devices: http://www.lttds.org/mobile/dutchassembly

Follow the programme on Twitter: #NLassembly

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ARCOMadrid (Ifema)
Feria de Madrid
28042 Madrid, Spain
MAP + Getting there

Professional preview: Wednesday 15 and Thursday 16 February, 12 noon–9pm
General public: Friday 17, Saturday 18 and Sunday 19 February, 12 noon–8pm

'Case Report' by Lorenzo Sandoval winner of the first NoguerasBlanchard Curatorial Open Call 2012

2012-01-18T12:29:00.000+01:00

View of NoguerasBlanchard space. Courtesy: NoguerasBlanchard

[UK]

NoguerasBlanchard is pleased to announce that the project 'Case Report' by Lorenzo Sandoval has been selected for the 2012 Curatorial Open Call.

The application deadine ended on 31 December 2011, receiving a total of 38 proposals, of which 20 were international and 18 from Spain.

The jury (composed of Latitudes (Max Andrews and Mariana Cánepa), Jacqueline Uhlmann, Juan Canela and Direlia Lazo) were unanimous in selecting 'Case Report'. "Lorenzo Sandoval's project promises to be a generous and curious exploration of ethnography in contemporary practice as seen through the work of a carefully selected group of artists", the jury noted. "The proposal was impressive for its synthesis of a range of artistic approaches (performance, sound, sculpture, works on paper, and film) with a methodological context drawing on rational and irrational attempts to document and interpret the world."

Lorenzo Sandoval was born in Madrid in 1980, and has specialized in Audiovisual Studies in Fine Arts at the Universidad Politécnica de Valencia, for which he is currently writing his MA final thesis. Following his studies, Sandoval has been granted residencies in Berlin, Porto and Nairobi. At present he lives in Berlin, where he collaborates on a regular basis with LaTejedoraCCEC, BarraDiagonal and Projektraum of Altes Finanzamt. In Spain, he has developed projects for La Casa Encendida in Madrid or Can Felipa in Barcelona. http://lorenzosandoval.blogspot.com/

'Case Report' is scheduled to open in NoguerasBlanchard on May 24th, 2012.

[ES]

NoguerasBlanchard se complace en anunciar que el proyecto 'Case Report' de Lorenzo Sandoval ha sido seleccionado ganador del 2012 Curatorial Open Call.

Se recibieron 38 propuestas de las cuales 20 fueron de origen internacional y 18 del territorio español.

El jurado (formado por Latitudes -Max Andrews y Mariana Cánepa-, Jacqueline Uhlmann, Juan Canela y Direlia Lazo) fué unánime en su elección de 'Case Report'. "El proyecto de Lorenzo Sandoval promete ser una exploración generosa de la etnografía en la práctica artística contemporánea a través de una cuidada selección de artistas" ha escrito el jurado. "La propuesta nos impresionó por su síntesis de una amplia gama de disciplinas artísticas (performance, sonido, escultura, obra sobre papel y película) proponiendo un contexto metodológico que parte de intentos racionales e irracionales de documentar e interpretar el mundo".

Lorenzo Sandoval nació en Madrid en 1980, y se ha especializado en estudios Audiovisuales en Bellas Artes en la Universidad Politécnica de Valencia, donde se encuentra finalizando su tesina de Máster. Después de sus estudios, Sandoval ha recibido becas de residencia en Berlín, Oporto y Nairobi. Hoy en día vive en Berlín, donde colabora habitualmente con LaTejedoraCCEC, BarraDiagonal y Projektraum of Altes Finanzamt. En España ha desarrollado proyectos para La Casa Encendida en Madrid, y Can Felipa en Barcelona. http://lorenzosandoval.blogspot.com/

Está previsto que 'Case Report' se inaugure el 24 de mayo de 2012.

NoguerasBlanchard
c/ Xuclà 7
08001 Barcelona · Spain
www.noguerasblanchard.com

'The Dutch Assembly' programme details for ARCOmadrid 2012

2012-01-16T18:00:00.000+01:00

Within the context of this year's ARCOmadrid programme FOCUS: The Netherlands, Latitudes was invited to curate and convene "The Dutch Assembly" by invitation of the Mondriaan Fund and the Embassy of the Netherlands in Madrid. Taking place throughout the five days of the fair within a specially-commissioned structure designed by Jasper Niens and Thijs Ewalts, the programme of "The Dutch Assembly" comprises thirty talks, book presentations, performances and screenings involving institutions and organizations from the Netherlands. (+ info...)

Rendering of the 'Superstructure', 2011. Courtesy Jasper Niens and Thijs Ewalts.

WEDNESDAY 15 FEB:
13–14h: Jeremiah Day, artist, Amsterdam/Berlin;
14–15h: Stedelijk Museum Amsterdam. Delegate: Leontine Coelewij, Curator;
15–16h: Stedelijk Museum Bureau Amsterdam. Delegate: Jelle Bouwhuis, Curator;
16–17h: Nathaniel Mellors, artist, Amsterdam/London;
17–18h: Van Abbemuseum, Eindhoven. Delegate: Steven ten Thije, research curator;
18–19h: Marres, Maastricht. Delegate: Lisette Smits, independent curator;
19–20h: [*] Lara Almarcegui, artist, Rotterdam.

THURSDAY 16 FEB:
13.30–15h: Official opening of "FOCUS: The Netherlands" in the presence of the Ambassador of The Netherlands, Mr. Peter P. Wulfften Palthe and Madeleine van Lennep, Deputy Director Mondriaan Fund. "FOCUS: The Netherlandsis made possible with the support of the Mondriaan Fund and the Embassy of the Netherlands in Madrid.
15–16h: [*] Javier Hontoria, critic and independent curator, Madrid;
16–17h: De Appel arts centre, Amsterdam. Delegates: Ann Demeester, Director and Nathalie Hartjes, coordinator of the Curatorial Programme and the Gallerist Programme;
17–18h: Manifesta – The European Biennial of Contemporary Art, Amsterdam. Delegate: Cuauhtémoc Medina, Curator Manifesta 9, Limburg, Belgium;
18–19h: Wendelien van Oldenborgh, artist, Rotterdam;
19–20h: If I Can't Dance, I Don't Want To Be Part Of Your Revolution, Amsterdam. Delegate: Frédérique Bergholtz, co-founder and director.

FRIDAY 17 FEB:
13–14h: Tropenmuseum, Amsterdam. Delegate: Anke Bangma, Curator Contemporary Art;
14–15h: De Vleeshal, Middelburg. Delegate: Lorenzo Benedetti, Director;
15–16h: Casco – Office for Art, Design and Theory, Utrecht. Delegate: Yolande van de Heide, Project Coordinator;
16–17h: Witte de With Center for Contemporary Art, Rotterdam. Delegate: Zoë Gray, Curator 2006–11;
17–19h: Kunstverein, Amsterdam/New York/Milan. Delegates: Krist Gruijthuijsen and Maxine Kopsa, Directors, and Gabriel Lester, artist, Amsterdam.

SATURDAY 18 FEB:
13–14h: TENT, Rotterdam. Delegate: Mariette Dölle, Artistic director and Eva González-Sancho, independent curator and former director FRAC Bourgogne, Dijon;
14–15h: Stroom Den Haag, The Hague. Delegate: Arno van Roosmalen, Director;
15–16h: [*] Jan van Eyck Academie, Maastricht. Delegate: Adrià Julià, artist and 2011 Researcher Fine Art;
16–17h: Museum De Paviljoens, Almere. Delegates: Macha Roesink, Director and Annick Kleizen, Curator;
17–18h: SKOR | Foundation for Art and Public Domain, Amsterdam. Delegate: Theo Tegelaers, Chief Curator;
18–19h: De Hallen, Haarlem. Delegate: Xander Karskens, Curator, De Hallen and 'Focus: The Netherlands' at ARCOmadrid.

SUNDAY 19 FEB:
13–14h: Fucking Good Art. Delegates: Rob Hamelijnck and Nienke Terpsma, artists/editors;
14–15h: [*] Rijksakademie van beeldende kunsten, Amsterdam. Delegates: Philippe Pirotte, curator and art critic, Antwerp, and senior advisor at the Rijksakademie and Rubén Grilo, artist and current resident;
15–16h: BAK, basis voor actuele kunst, Utrecht. Delegates: Maria Hlavajova, artistic director and Rabih Mroué, artist, Beirut;
16–17h: Expodium, Utrecht. Delegate: Bart Witte, Director;
17–18h: W139, Amsterdam. Delegate: Tim Voss, Director and Sam de Groot, graphic designer;
18–19h: [*] De Ateliers, Amsterdam. Delegate: Paloma Polo, artist and 2007–9 participant.

All the events will be in English, except those marked with an asterisk (*), which will be in Spanish. Programme may be subject to change.

More info: http://www.lttds.org/projects/dutchassembly
Mobile-friendly version: http://www.lttds.org/mobile/dutchassembly/
Browse and download 'The Dutch Assembly' programme on Issuu:

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ARCOMadrid (Ifema)
Feria de Madrid
28042 Madrid, España
MAP + Getting there

Professional preview: Wednesday 15 and Thursday 16, 12 noon–9pm
General public: Friday 17, Saturday 18 and Sunday 19, 12 noon–8pm

Follow 'The Dutch Assembly' on Twitter: #NLassembly

Newsletter #40 – January / enero 2012

2012-01-04T14:32:00.000+01:00

Newsletter en Español | Newsletter in English

FORTHCOMING...
'The Dutch Assembly / Asamblea de los Países Bajos', ARCOmadrid, 15–19 February 2012, Madrid (+ info...)
Follow us on Twitter: #NLAssembly

LAST CHANCE! UNTIL 15 JANUARY 2012...
'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León, 24 September 2011–15 January 2012.
Follow us on Twitter: #amikejo

RECENT BLOG POSTS...
Further update: Contents of the forthcoming publication 'Amikejo' – Available in late January 2012 (21 December 2011); Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove (7 December 2011)...

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For more info go to:

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/

http://issuu.com/latitudes/docs

Further update: Contents of the forthcoming publication 'Amikejo' – Available in April 2012

2011-12-21T10:00:00.000+01:00

We are currently finalising and proof-reading the 'Amikejo' publication (see previous posts here and here), which concludes the year-long exhibition cycle at the Laboratorio 987, MUSAC (Fermín Jiménez Landa & Lee Welch's show is on view until 15 January 2012). The volume will be available in Spring 2012 and will be distributed by Mousse Publishing.

Below an excerpt of Theo Beckers's essay 'Free time: The rise and fall of a social project', commissioned by 'Amikejo' artists Iratxe Jaio and Klaas van Gorkum to complement the publication section dedicated to their multi-part project 'Producing time in between other things' (2011), which revolves around the changing values of labour and property:

 "Have you ever heard the story of the African fisherman? In the early light of dawn, he would set out to sea in his little boat, fish for a few hours, return to port, sell his catch and then spend the rest of the day in the shade of a tree on the beach, contemplating the meaning of life and other pleasant thoughts. An economist from the World Bank appeared one day and asked him why he didn’t take advantage of all that spare time by fishing longer, and going further out to sea with a larger boat. This would bring in more fish and thus more profit. In the long run, this would enable the fisherman to buy more and even bigger boats, and even hire people to do the work for him. Eventually, he could make so much money that he wouldn’t need to work anymore and could afford to lie on the beach the whole day. At which the fisherman laughed and asked the economist, “Why would I go through all that trouble?” The history of Western society’s relationship with time clearly illustrates, however, that it is the economist who had the last laugh, not the fisherman."

Theo Beckers was Professor of Leisure Studies at Tilburg University and is now on the faculty of the Tilburg Sustainability Center, the Netherlands, and Visiting Professor at the Chinese Academy of Sciences, Beijing. Translated from the Dutch by Klaas van Gorkum.

Further publication details:  

Title | Título  
'Amikejo'  

Editor | Edita  
Latitudes  

Publisher & Distributor | Publica y distribuye 
Mousse Publishing and MUSAC  

Format | Formato  
22,5x15,5cm, 216 pp., hardcover 

 Language | Idiomas  
English/Spanish  

Editorial Coordination | Coordinación editorial 
Latitudes and Carlos Ordás 

 Production | Producción 
Bruna Roccasalva

Graphic design | Diseño gráfico 
Studio Mousse — Marco Fasolini, Fausto Giliberti, Andrea Novali, Francesco Valtolina   

Texts | Textos 
Giorgio Agamben, Theo Beckers, Latitudes, Prof. Peter Osborne, Georges Perec, Prof. Dr. Menno Schilthuizen, Ryszard Zelichowski 

Translation | Traducción 
Marzena Beata Guzowska (Polish—English); Klaas van Gorkum (Dutch—English); e-verba (English—Spanish)   

Copy-editing | Correcciones 
Latitudes 
Johanna Bishop
English proof-reading of Ryszard Zelichowski’s text (unabridged version) Martin Blaszk   

Distribution | Distribución 
Mousse Publishing   

Printing and binding | Impresión y encuadernación 
Grafiche Artigianelli, Brescia   

Print-run | Tiraje 
1,200 copies 

 ISBN 
9788896501832

Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove

2011-12-07T10:50:00.001+01:00

Con fecha 24 de noviembre de 2011, reunidos en la Dirección general de Juventud (C. Calàbria 147, Barcelona) el jurado formado por Daniel G. Andújar, artista visual y teórico del arte, vicepresidente primero de la Asociación de Artistas Visual de Cataluña; Dora García, artista visual, Max Andrews y Mariana Cánepa, miembros de Latitudes, oficina de comisariado; Frederic Montornés, crítico de arte y comisario independiente, Javier Rodrigo, investigador y educador de Arte; Oriol Fontdevila, miembro del equipo gestor de la Sala de Arte Joven y Toni Reig, Director general de Juventud que actúa como presidente del jurado; resuelven la siguiente selección de proyectos en relación a las convocatorias de Artes visuales y Tutorial de la Sala d'Art Jove:

Proyectos de Creación:

Petia Cervera, Sublevación de Abril
Lúa Coderch, Eco, The girl With no Door on the Mouth
Juan Crespo, Estudios históricos
Eloi Dalmau, Recitales para interfono
Jordi Ferreiro, El traje nuevo del emperador
Paula Giménez, Verano
Mercedes Mangrané, Piedras
Anna Moreno, Select the Right Location
Quim Packard, L’última institució
David Proto, Memetro
Barbara Sánchez, Bibliografía
Adrianna Wallis, Rare et Magnifique

Proyectos de Investigación:

Alba Aguirre, Marta Bonhora, Belen Genereco, Anna Margo, Mar Montobbio, “/”
Laura Benítez, Alicia Escobio, Lola Lasurt, Primer intent

Proyectos de educación:

Aurelio Castro Varela, Proyecciones urbanas. El 15-M y el trabajo de la ficción
Joanna Empain, Ricard Escudero, Simonetta Gorga, Encuentros y desencuentros entorno a la práctica artística y educativa en un proyecto expositivo con estudiantes...

Proyectos de edición:

Enric Farrés, Quim Packard, Grau d'Assistent d'Artista Professional
Ignasi Prat, El mundo de los vencedores. Las casas de los poderosos del franquismo

Tutorial:

José Antonio Delgado, Fito Conesa, Judit Vidiella
Francisco Peinado, Rachel Fendler (Cultural Nodes)
Andrea Rodríguez, Verónica Valentini

Newsletter #39 – December / diciembre 2011

2011-12-02T10:30:00.000+01:00

Newsletter en Español | Newsletter in English

FORTHCOMING...
'The Dutch Assembly / Asamblea de los Países Bajos', ARCOmadrid, 15–19 February 2012, Madrid (+ info...)
Follow us on Twitter: #NLAssembly

ALSO THIS MONTH...
Three juries: for the 2012 Open Call at the Sala d'Art Jove; the GAC Awards given by the Catalan Gallery Association (Award ceremony: 31 January 2012 at MACBA); and the Curatorial Open Call 2012, which invites individuals or collectives to submit a proposal for curating an exhibition between June and July of 2012 at NoguerasBlanchard.

UNTIL 15 JANUARY 2012...
'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León, 24 September 2011–15 January 2012.
Follow us on Twitter: #amikejo

RECENT BLOG POSTS...

'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' by Max Andrews on Mousse Magazine #31 (30 November 2011); MACBA y Fundación Han Nefkens anuncian premio de arte contemporáneo (28 November 2011); Latitudes invited to curate the presentation of Dutch institutions in ARCOmadrid 2012 (17 November 2011); Erick Beltrán and Jorge Satorre's 'Modelling Standard' evolving project and forthcoming interview with the artists for 'Atlántica' magazine (15 November 2011); NoguerasBlanchard announces "Curatorial Open Call 2012" – deadline 31 December 2011 (7 November 2011)...

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For more info go to:

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/

http://issuu.com/latitudes/docs

'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' by Max Andrews on Mousse Magazine #31

2011-11-30T09:00:00.000+01:00

In the current Mousse Magazine #31 (November 2011) you can read the interview 'Nice to Meet You – Erick Beltrán. Some Fundamental Postulates' where Max Andrews converses with the Mexican-born Barcelona-based artist, about the artist's attempt to create the terms of a dictionary of multiplicity. Their conversation ends:

"In 1997 I was asked to define my work in ten lines, and I realised that was impossible. So I said to myself, okay, let’s just make it one word! So that word was ‘edition’ and from there everything expanded and exploded as I realised my work was about the question of how you select things – what is a choice? And that is a really difficult question."