Milan-based Kult Magazine has published an article on art and ecology in their October issue written by art critic and curator Daniele Perra. In the section, Perra interviews curator Francesco Manacorda (curator of the exhibition 'Radical Nature: Art and Architecture for a Changing Planet 1969-2009' on view at the Barbican Art Gallery, London, until 18 October), as well as English artist Simon Starling and selects a few ongoing exhibitions and events that analyse the relationship between art and nature.

In page 88 (see detail above) Perra mentioned Latitudes' ecology-related projects such as the 'Greenwashing. Environment: Perils, Promises and Perplexities...' exhibition at the Fondazione Sandretto in Turin in 2008, the guest-edition of UOVO #14 in 2007 and the publication 'Land, Art: A Cultural Ecology Handbook' in 2006, to introduce our participation in the forthcoming The Wånas Foundation seminar on Art and Ecology taking place on the 21 October in Knislinge, Sweden and in the symposium organised by Hinterland Projects on 26th November titled 'The evolving relationships between artists, the changing climate and new responsibilities'.

[Above: Detail of page 88 of the magazine. With thanks to Daniele Perra]

This past Sunday 8 February started very early for Latitudes -- we were on the beach of the Maasvlakte, Rotterdam, before first light with cameraman Fijko van Leeuwen in readiness for the filming of the new 2009 version (forty years later to the month) of Jan Dibbets' 1969 '12 Hours Tide Object with Correction of Perspective' (see previous post here). The resulting film, titled '6 Hours Tide Object with Correction of Perspective' is the first project of our Portscapes project (commissioned by the Port of Rotterdam in collaboration with SKOR). Soon after Dibbets and Theo Tegelaers from SKOR arrived and, with bulldozer driver Jan Vader at the ready and van Leeuwen up on the hydraulic lift, the 'square' was marked out and the camera was ready to roll.

The bus with special guests and press arrived just in time to see the beginning of the raking action, and after a brief hail storm, the tide rose rapidly on cue around 12.30 to inundate the 'perspective correction'. A spectacular morning on the Dutch coast! Many thanks to everyone involved.

Critic Rutger Pontzen wrote about the event in the Dutch paper De Volkskrant and Ruud van Haastrecht's article appeared in Trouw (articles below as well). Also see features in Schuttevaer, BM/DeStem and Metropolis M. NRC Handelsblad has a 17-photo slideshow here. The event was photographed for the Port of Rotterdam by Freek van Arkel (above) and for SKOR by Paloma Polo (below). More to follow on Latitudes website and the Portscapes website, including details of the screenings of the resultant film (in Spring 09).

Get your own - Open publication

Coinciding with the conclusion of the screenings of the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' last October, Latitudes was asked to write a text on the films for Art&Co, which has just been published in their Winter 09 issue num. 5 – see pages above (click on the image to zoom in the text).

Following an excerpt of the original text (which totals over 2,000 words):

"(...) Latitudes developed the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' at the invitation of the Museo Tamayo Arte Contemporáneo in Mexico City. Premiering there in April 2008 as part of the Tamayo’s 'Panorámica' series, 'A Stake in the Mud...' has since toured to several venues throughout Europe within an auditorium-based screening format, presenting historical works alongside those produced in the last six years.

What were the possibilities for augmenting preordained definitions of so-called Land Art through relation with contemporary practices, and social and environmental ecologies? Though the cycle had its germination in our work on a publication – 'Land, Art: A Cultural Ecology Handbook' (2006) – the dimension of film clearly proposed additional sets of concerns. The title of the programme was drawn from words of Robert Smithson in which he speculates on the site and film of perhaps the most renowned – and certainly most photogenic – of the works associated with Land Art, 'Spiral Jetty' (1970). It attempts to surmise the programme’s dual concern with sheer materiality and physical processes together with the lacunae of filmic representation. Where artists’ use of film or video might appear as a solution to the problem of how to represent something that would otherwise be inaccessible (an intervention in a remote area, for example) or otherwise ephemeral, it apparently creates another – what, or where, does the artwork consist of? Accordingly, what is the status of each film: informal artifact, ‘making of’ movie, documentary, autonomous fiction or something else?
(...)
Accordingly, the programme enhanced several ‘Smithsonian’ dialogues across time, but rarely was the magnetism openly declared or intentional. Included in part two of the programme, 'Zênite invertido/Inverted Zenith' (2005) by Brazilian-artist Thiago Rocha Pitta portrayed a mesmerising vortex of water in a metal vessel which slowly diminishes in volume before a steady resurgence. The work supports a tacit mythical connection to Spiral Jetty and its own narratives of mirroring and reversal, but also to the cosmic whirlpools evoked in Edgar Allan Poe’s tale ‘A Descent into the Maelström’. A concern with remoteness, together with the powerful allure of specific sites, threaded throughout the cycle. The itinerary took in the sewers of New York City and Vienna (through works by Gordon Matta-Clark and Hans Schabus), the deserts of the US (Mario Garcia Torres or Walter De Maria), high mountain zones (Ibon Aranberri, Maria Thereza Alves), as well as the paradisiac beaches of Taveuni (Nikolaj Recke), for example. Territorial sculptural acts (Barry Flanagan or Walter de Maria, for example) were encountered, as well as displacements more legible as social or political actions (in the work by Francis Alÿs). Absurd gestures (Damián Ortega) met touristic views of natural phenomena (Nancy Holt & Smithson) while perspectival experiments (Jan Dibbets) greeted ecological remarks (Donna Conlon)."

'Mono Lake' (1968/2004) by Robert Smithson and Nancy Holt is one of the films included in the first part of the programme which we just learned was acquired in 2007 by the Museo Nacional Centro de Arte Reina Sofia in Madrid. Here an acquisition entry on the piece (in Spanish).

Full article available for download from Latitudes' writing archive here.

Further documentation such as hand programmes, press reviews, adverts, etc. here; Photodocumentation of the screenings here.

Art&Co is a bilingual Spanish/English quarterly magazine published by the Asociación Amigos de ARCO.
Editorial Director: Ángela Molina
Contact: artandco@artandco.es or (+34) 917 225 102
More info: http://www.arco.ifema.es (see under 'Publications')

Looking back at the past year is a infectious exercise at this point in the calendar. We would like to thank everyone that has visited or taken part in our projects, from the small ones to the 3 year-long collaborations, whether from nearby or far away.

Our 2008 began as intense preparations were well underway for the group exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities' at Fondazione Sandretto Re Rebaudengo, Turin (29.02 –18.05.2008) co-curated with Ilaria Bonacossa. 'Greenwashing...' presented the work of 25 artists and artists groups (11 of those produced new work). A 192 page catalogue was published by The Bookmakers Ed., Turin – you can buy a copy here (English/Italian editions).

Following 'Greenwashing...' we presented 'A Stake in the Mud, A Hole in the Reel: Land Art's Expanded Field 1968–2008', a film and video programme curated at the invitation of the Museo Tamayo in Mexico City that later toured to 8 venues between April and October: MARCO, Vigo; Stadtkino (Kunsthalle Basel), Basel, Switzerland; CAAC, Sevilla; Fundació Suñol, Barcelona; Barn Hongersdijk Farmstead, Wilhelminapolder, The Netherlands; Spike Island, Bristol, United Kingdom; Centro de Arte Dos de Mayo, Móstoles. For further information you can read an essay in the Winter 2008-9 (upcoming) issue of Art & Co magazine or download press articles and programmes here.

Before the end of the summer we were part of the jury for the Premi Miquel Casablancas, an award for Spanish artists under 36. From around 200 portfolios and projects submitted Latitudes, together with Aimar Arriola, selected four artists to participate in the exhibition later in the year: ‘La, la, la, la: on winning and losing’ (29.11.2008 – 10.01.2009).

The summer was filled with more research and work to be done, which was carried out thanks to the support and hospitality of the Deutsche Börse Residency Programme, Frankfurter Kunstverein, Germany.

The 2008-9 season began with the exciting realisation of 'The Crest of a Wave’, a four-part project by Lawrence Weiner at Fundació Suñol, Barcelona (08.10 – 15.11.08) that had a great press, radio, specialised media and TV coverage (see post 12 November); followed by the conclusion of the 3 year-long public commission by Tue Greenfort which was presented in a discrete mode alongside his Frieze Art Fair project (16-19 October). This commission was an initiative of the RSA Arts & Ecology programme, London, which has recently become the Arts & Ecology center. Soon there will be a small publication gathering the history of the commission as well visual documentation of the project.

In November, as part of Artissima 15 Latitudes presented 'X, Y, etc!', a video programme comprised of around 40 works that was inspired by Charles Fort's research methodology, the paranormal and anomalous phenomena, the uncanny and the unexplained.

And now looking a little towards what's to come in 2009 ... since May 2008 (see previous posts here and here) we have been working on 'Portscapes', a series of artists’ projects that will take place throughout 2009 alongside the construction of ‘Maasvlakte 2’, a 1,000 hectare area of reclaimed land that will extend the Port of Rotterdam, Europe's largest seaport and industrial area. Mirroring a port's function of transit and exchange 'Portscapes' will involve Rotterdam-based artists and those from countries including China, Austria, Mexico, Scotland and the US, with the aim of considering the physical and conceptual implications of the new lands of Maasvlakte 2, as well as the city-port as a distributive network across artistic, marine and mercantile registers. 'Portscapes' will be introduced during Art Rotterdam (5–8 February 2009) by a small ‘prologue’ publication designed by Ben Laloua / Didier Pascal.

Throughout 2008 we have also contributed several catalogue essays, articles, exhibition reviews, artists profiles, etc. a selection of which can be downloaded from our writing archive.

Happy New Year!

El próximo sábado 25 Octubre tendrá lugar en el Centro de Arte Dos de Mayo (Móstoles) la proyección final del programa de video "Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008" que hemos presentado anteriormente en México DF, Vigo, Sevilla, Basilea, Barcelona, Wilheminapolder (Holanda) y Bristol.

El ciclo se divide en dos partes: la primera parte (52m duración) muestra obras clásicas del Land Art realizadas en 1968 (algunas son post-producciones del 2004 y 2005) y la segunda parte (1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años.

Para más información sobre la programación, consultar programa completo en w3art.es, en EXITMAIL o descargar programa de mano en el archivo. En la galería podreis ver imágenes de proyecciones anteriores.

La proyección se presenta en contexto de la exposición 'Gustos, colecciones y cintas de vídeo', comisariada por Virginia Torrente.

_Sábado 25 Octubre
De 12 a 14.30h_

CENTRO DE ARTE DOS DE MAYO
Avda. de la Constitución, 23-25
28931 Móstoles
Tfno: 91 276 02 13 / 19
centrodeartedosdemayo@madrid.org

Acceso gratuito al centro y a sus actividades

MAPA ubicación
Metro: Móstoles Central L 12
Renfe: Móstoles (línea C5 desde Atocha)
– –

Imagen: WALTER DE MARIA, 'Two Lines Three Circles on the Desert', 1969, 4’45”, en: GERRY SCHUM 'LAND ART', 1969. 16mm transferido a DVD. Cortesía Groninger Museum, Groningen.

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

19 October, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition 'Richard Long and Simon Starling', 4 October - 23 November, 2008)
25 October, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')

Both of these screenings will present a selection of the material that conformed the programme, as follows:

Part 1 (duration 32' in Bristol and 52' in Móstoles):
· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by: Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.

· Nancy Holt (1938 Worcester, US. Lives in New Mexico,US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" (NOTE: to be screened ONLY at the Centro Dos de Mayo)

Part 2 (duration 1h 15min):
· Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
· Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
· Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
· Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
· Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
· Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
· Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
· Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
· Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
· Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
· Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''

Read all press material that has appeared to date here and also view a slideshow of some screenings here.

[Above: Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen. Below: FRANCIS ALŸS (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich]

Después de las presentaciones en México, Vigo, Basilea y Sevilla continuamos con la itinerancia del ciclo de film y video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'. La próxima proyección será en el Nivell Zero de la Fundació Suñol, Barcelona, el 7 y 8 Julio a las 19.30h.

El ciclo se divide en dos partes: la primera proyección (7 Julio, 1h 38m duración) muestra obras clásicas del Land Art realizadas en los sesenta y setenta (algunas son post-producciones del 2004 y 2005) y la segunda parte (8 Julio, 1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años. Para más información sobre los films que se proyectan, véase programa (castellano) o la invitación (catalán).

Aforo limitado | 2 € por sesión | Reserva previa: 93 496 10 32

Nivell Zero de la Fundació Suñol
c/ Rosselló 240
08008 – Barcelona
T 93 496 10 32
www.fundaciosunol.org

Programas anteriores y prensa, aquí

El viernes 11 de Julio, a las 11.30am presentaremos el programa en una granja en la Wilheminapolder (véanse fotos), Holanda, como parte de una serie de comisiones artísticas que está llevando a cabo SKOR (la Fundación de arte y espacio público de Amsterdam) en la zona. Para más información (en inglés)

SKOR organiza un autobús desde Amsterdam hacia la Wilheminapolder. El bus saldrá a las 9am desde sus oficinas en Ruysdaelkade 2. Coste transporte: € 10.00 (más evento y comida = € 17.50). Para registrarse escribir a info@cbkzeeland.nl o llamar al: +31 0118-611443. Durante el trayecto se podrá escuchar la banda sonora realizada especialmente para la ocasión por Rutger Zuydervedt, conocido como Machinefabriek.




[Imágenes: Parte frontal invitación a las proyecciones en Fundació Suñol. Abajo, dos fotos de las granjas Hongersdijk en la Wilheminapolder, Holanda]

Los días 24 y 25 de Junio, a las 20h, se proyectará el ciclo 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' en el Centro Andaluz de Arte Contemporáneo (CAAC, Sevilla). El programa revisa una selección de imágenes en movimiento que forman parte de la memoria histórica de Land Art (Parte 1, 1h38m), acompañadas de producciones de artistas contemporáneos (Parte 2, 1h15m).

Próxima parada: 7–8 Julio, Fundació Suñol, Barcelona; y 11 Julio, antiguo granero Hongersdijk Farmstead, Wilheminapolder, Holanda - proyección auspiciada por SKOR (Foundation Art and Public Space, Amsterdam).

Más información http://www.lttds.org/projects/current/stake/stake.html
Descargar los programas de mano (inglés y español)

Centro Andaluz de Arte Contemporáneo
Monasterio de la Cartuja de Sta. Mª de las Cuevas
Acceso: Avda. Américo Vespucio nº 2, Isla de la Cartuja y
Avda de los Descubrimientos s/n (por pasarela de Torneo)
41092 SEVILLA
Tel. +34 955 037 070
actividades.caac@juntadeandalucia.es
www.caac.es

CICLO DE VÍDEO. Panorámica
Una estaca en el lodo, un hoyo en la cinta
El campo expandido del Land Art, 1968-2008
SALÓN DE ACTOS

FECHAS
jueves 8 y viernes 9 de mayo de 2008
jueves 15 y viernes 16 de mayo de 2008 [repetición]

COMISARIADO POR
Latitudes | www.LTTDS.org

ENTRADA LIBRE Y GRATUITA hasta completar aforo

MARCO, Museo de Arte Contemporánea de Vigo.
C/ Príncipe 54. 36202 Vigo.
Tel: 986 113900. Fax 986 11 39 01
info@marcovigo.com www.marcovigo.com

Durante cuatro días del mes de mayo, el salón de actos del MARCO acoge el ciclo de vídeo “Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008”, comisariado por Latitudes, después de su presentación en el Museo Tamayo de Arte Contemporáneo de México, y antes de continuar su itinerancia a Basilea, Sevilla, Barcelona y Holanda.

Tomando prestado su título de los escritos de Robert Smithson, este programa presenta una selección de imágenes en movimiento que forman parte de la memoria histórica del Land Art, acompañadas de producciones de artistas contemporáneos.

'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'
Auditorium Museo Tamayo, Mexico City

Programme 1. Tuesday 1 April 2008, 19:30 h
Programme 2. Wednesday 2 April 2008, 19:30 h
(Repetition: 5 & 6 April 2008, 13:00 h)

Free entrance

Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Nancy Holt & Robert Smithson, Gordon Matta-Clark, Damián Ortega, Nikolaj Recke, Thiago Rocha Pitta, Hans Schabus, Gerry Schum (with films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Robert Smithson, Jordan Wolfson.

Download the full screening programme here

Paseo Reforma y Gandhi
Bosque de Chapultepec
Ciudad de México
CP 11580 Mexico
tel. (+5255) 5286 6519/29
fax. (+5255) 5286 6539
info@museotamayo.org
www.museotamayo.org

A continuación una selección del artículo 'Verde es el color del dinero' de Mariano Navarro que se publicó en el suplemento 'El Cultural' de 'El Mundo' el 13 Marzo 2008 – podeis descargar un pdf aquí, en la sección de prensa de nuestra web:

Greenwashing se ocupa de un tema pujante, la situación del medioambiente en el mundo, y cómo su título indica lo hace desde una óptica tan amplia como determinada. Greenwashing es un neologismo que define la injustificable apropiación de las virtudes medioambientales por parte de la industria, los estamentos políticos o las organizaciones, con la finalidad de crear una imagen positiva de sus actividades o productos y una imagen mistificadora que distraiga la atención respecto a sus propias responsabilidades e impactos medioambientales negativos. Green significa verde, washing, lavar, y podría traducirse por “lavar con verde” o, más irónicamente, por “el verde lava más blanco”.

El comisariado ha sido un trabajo colectivo entre Ilaria Bonacossa, jefa de exposiciones de la Fondazione, y el estudio Latitudes, formado por Max Andrews y Mariana Cánepa Luna, colaboradores del programa Arts & Ecology, autores del libro Land, Art: A Cultural Ecology Handbook, organizadores en la Bienal de Sharjah de un simposio sobre el tema y editores de un número de la revista UOVO, de Turín, con el tema Ecología, Lujo & Degradación. Cito esta parte de su curriculum porque sin el conocimiento previo del temario tratado, difícilmente podrían haber llevado a cabo una lectura que, sin ilustrar tesis preconcebida alguna, resulte tan rica, tan alertadora e instructiva, en el mejor sentido del término. Tampoco para la Fondazione, que ha dedicado esfuerzos en esos aspectos desde 2001. (continúa...)

[Imagen: Ibon Aranberri 'Light over Lemoniz (without shockwave)', 2000–4. Cortesía del artista e Isabella Bortolozzi, Berlin]

Latitudes was invited to curate the Spring 2008 Panorámica cycle for the Museo Tamayo Arte Contemporáneo, Mexico City. The cycle is titled 'A Stake in the Mud, a Hole in the Reel. Land Art's Expanded Field 1968–2008' and will be screened in two parts on 1st and 2nd April at 19.30h (and repeated on 5–6 April at 13h.)

Borrowing its title from the writings of Robert Smithson, the programme revisits a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. Indeed a concern with remoteness, together with the powerful allure of specific sites, weaves throughout the films’ itinerary, which includes the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).

Dowload the screening programme here (Spanish, pdf, 624 KB)

Part 1:
Gerry Schum's LAND ART (1969) which includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Nancy Holt & Robert Smithson, Robert Smithson and Gordon Matta-Clark.

Part 2:
Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Damián Ortega, Hans Schabus, Nikolaj Recke, Thiago Rocha Pitta and Jordan Wolfson.

The programme will also be presented in Museo de Arte Contemporánea de Vigo, Vigo (8-9 and 15-16 May); Stadtkino/Kunsthalle Basel (27 May); Centro Andaluz Arte Contemporáneo, Sevilla (24-25 June) and Fundació Suñol, Barcelona (7–8 July).

The programme is available for screenings in auditoriums. If you are interested in hosting it, please write to info[at]lttds[dot]org to receive information on the available dates and terms and conditions.

[Image above: Gerry Schum, 'Land Art TV' (1969). Courtesy Groninger Museum, Groningen]

31 January – 31 March 2008
www.pacmurcia.es

ARTISTS
LARA ALMARCEGUI, BERND & HILLA BECHER, BLEDA Y ROSA, JUAN CRUZ, VERNE DAWSON, MARK DION, JIMMIE DURHAM, CYPRIEN GAILLARD, ILANA HALPERIN, JOACHIM KOESTER, MARK LOMBARDI, ALLAN McCOLLUM, PAUL NOBLE, PAULINA OLOWSKA, DIEGO PERRONE, ABRAHAM POINCHEVAL & LAURENT TIXADOR, MARJETICA POTRC, GREGOR SCHNEIDER, EVE SUSSMAN & THE RUFUS CORPORATION and KEITH TYSON.

VENUES
Centro Párraga, Espacio AV, MAM (Museo Arqueológico de Murcia), MUBAM (Museo de Bellas Artes de Murcia), Museo de Santa Clara, Sala San Esteban, Sala Verónicas, Cendeac, Filmoteca and three other public spaces in the city

The first Contemporary Art Project (PAC in Spanish) wants to make itself distinctive from the circuit of international biennials and art festivals by promoting a series of seminars for the duration of the project ('Heterocronías, Temporalitites in contemporary art practices' with guests including Pamela M. Lee, Peter Osborne, Manuel Cruz, Gary Shapiro and José Luis Villacañas), a film season in the regional filmoteca, and by offering six 3-month residency grants to Murcian artist to go to GlogauAIR, Berlin; Gasworks, London and Duende, Rotterdam; on top of the usual guided tours organised for this kind of events.

Organiser _ Comunidad Autónoma de la Región de Murcia. Consejería de Cultura, Joventud y Deportes
Curator _ Nicolas Bourriaud
Assistant Curator _ Aurelia Kreienbühl
Coordination & Communication _ Urroz Proyectos

[all photos: Latitudes with courtesy to all the participating artists]

Last weekend we visited 2 of Lara Almárcegui's wastelands. One in the Rotterdam harbour (www.braakliggendterrein.nl) and the other one in Genk, Belgium. The Rotterdam wasterland (first 4 pictures) has remained untouched since 2003 and will be kept until 2018. The Genk wasteland's dates are 2004-2014 (following 12 images).



"Lara Almárcegui's work often explores neglected or overlooked sites, carefully cataloguing and highlighting each location's tendency towards entropy. Her projects have ranged from a guide to the wastelands of Amsterdam to the display, in their raw form, of the materials used to construct the galleries in which she shows. Her works are simple actions that belie the vast research process which she undertakes to achieve them." (Frieze Projects, 2006)

Piotr Uklanski 'A Retrospective' (main space) and Tue Greenfort's 'Medusa' (upper and lower galleries) at the Secession, Vienna, 20 September – 18 November 2007.

All images: Latitudes | www.lttds.org

GUEST EDITED BY LATITUDES
JULY–SEPTEMBER 2007

Issue # 14 presents interviews, essays, projects and two CDs around art practices that resist the spectacularisation or romanticisation of ecological issues or the natural world.
The issue was launched in Art Basel's Art Lobby on the 17 June (images below). See also inside the magazine here.

Where to find it? here
More info? here and here

[Photos courtesy UOVO|The Bookmakers Ed. & MCH Swiss Exhibition Basel/Zurich AG]

Brian Dillon reviews LAND, ART: A Cultural Ecology Handbook in the summer issue of Frieze, devoted to ecology. There is also a feature article by Latitudes's Max Andrews entitled 'The Whole Truth' featuring the work of Mierle Laderman Ukeles, Christina Hemauer & Roman Keller, Maria Thereza Alves, among others.

[All images: Latitudes | www.lttds.org]

Courtesy Latitudes | www.lttds.org, photos: Robert Justamante

The book is finally a reality! Coming soon are images of the reception at the London School of Economics and Political Science last Tuesday. The book was officially launched by the UK's Culture Minister David Lammy during the No Way Back? conference that morning. You can purchase the book direct from the distributor's Cornerhouse here, or from amazon here.

LAND, ART: A Cultural Ecology Handbook goes to print this Wednesday. Meanwhile here are some previews from the RSA, the excellent worldchanging.com, the e-flux announcement and Cornerhouse's web, worldwide distributor of the book.

http://www.rsa.org.uk/journal/storydetails.asp?articleID=859

http://www.rsa.org.uk/journal/article.asp?articleID=837

http://worldchanging.com/archives/004385.html

Here is the postcard for the publication we've been editing for a year now! Its launch will on the 12 December in London, over a press breakfast coinciding with the RSA/LSE international enquiry 'No Way Back?' (11-12 Dec). The book is going to print in Italy in two weeks, so soon you will be able to see more on these pages

'LAND, ART: A Cultural Ecology Handbook'
Edited by Max Andrews
Published by the RSA in partnership with Arts Council England
17 x 24 cm, 248 pages, colour throughout
ISBN 0 901469 57 2
Design by SMITH
Distributed by Cornerhouse Publications

Aquí tenéis la postal de la publicación en la que hemos trabajado a lo largo de este último año! Su presentación oficial se hará el 12 de Diciembre en Londres durante un desayuno para la prensa que coincidirá con la conferencia internacional organizada por la Royal Society of Arts (RSA) y la London School of Economics (LSE) titulada 'No Way Back?' (11-12 Dic). El libro se imprimirá en dos semanas en Italia, así que pronto podréis ver más información en estas páginas

[Image on the postcard and on the book cover: Henrik Håkansson, Untitled (Khao Nor Chuchi), 2003, offset print on paper, 70 x 100 cm. Courtesy the artist; The Modern Institute, Glasgow; Galleria Franco Noero, Torino.]