New and bigger photo galleries in Latitudes website

For those who visit our website (www.lttds.org) regularly, you would like to know that we have enhanced the photo galleries with a larger slideshow format: at the top a caption explaining what you see and at the bottom the usual back and forth arrow to navigate, as well as a thumbnail panel.

An example of this is this one: http://www.lttds.org/projects/current/stake/stakegallery/stakegallery.html, where we just uploaded photos from the recent film & video screenings at the Fundació Suñol, Barcelona and at the Wilheminapolder in Holland, when 130 people attended the screenings in this beautiful 18th Century barn.

We have also updated other gallery sections like that of Greenwashing, where you'll be able to see the exhibition catalogue designed by The Bookmakers Ed., Turin (slideshow of the works in the exhibition on the Greenwashing web). And of course we keep feeding with new info our various archives, such as this or this or this or this!

Interview with Lara Favaretto UOVO/16

In the first 2008 issue of UOVO, issue 16, Mariana Cánepa Luna from Latitudes interviewed Turin-based artist Lara Favaretto. The issue focuses on the relationship between art and architecture, man and environment and includes interviews with: Raimundas Malasauskas with Adam Carr, Tobias Putrih with Silvia Sgualdini, Michael Sailstorfer with Francesca Pagliuca, Dahn Vo with Adam Carr, Vincent Lamouroux with Céline Kopp, Daniel Arsham with Merce Cunningham, Tatiana Trouvé by Lillian Davies; texts by Michael Rakowitz, Liam Gillick, Marjetica Potrc and Hans Op De Beeck and many more...

Here is a peek at that interview (you can download the full text from Latitudes' website, here or buy the issue!):

MCL: In your recent Frieze Commission you sent out a letter inviting the Queen of England to visit the Frieze Art Fair (Project for Some Hallucinations, 2007). The letter in which she declines the invitation was pinned to a tree inside the fair. What kind of arrangements would you have made if the Queen had accepted?

LF: Very Few! After an official inspection by the Royal Staff everything would have followed the Royal Protocol. My work stopped before that, with the very possibility to project an apparition, a ‘platonic’ intervention, a Goliardic visualisation, or a confrontation with the appearance of a movie star from early cinema. It was an objectless hallucination, a kind of sentimental investigation that was projected to appear yet be autonomous in denying itself. The failure was long-awaited and foreseeable, and was highlighted at the fair by the sound of applause, that put an end to the great daily spectacle as everyone was heading for the exit.

MCL: In the context of that commission you said that ‘when one listens to the narration of an idea that is so powerful it ultimately does not matter if it's ever realised’. Can you tell me another such idea or story?

LF: Don't you think it's like that? I think that if very few words can describe a work, just enough to capture the work's physiognomy, it could end up being even stronger than the work itself. The border is really subtle. Telling a story also means suspecting deception and trying to improve it, waiting for it to suddenly unravel, and having fun as much as I have. A story I haven't understood is: ‘I've been studying disguises for a long time now. I am hired to shadow one of the most important people on the American political scene. I am currently based high in the Tora Bora caves.’

Lara Favaretto lives and works in Turin, Italy. In 2008 she will be artist in residence at the Isabella Stewart Gardner Museum, Boston; the Hayward Gallery, London, and at the Proa Foundation, Buenos Aires, where she will subsequently have solo shows. She will also present work at The British School at Rome and participate in the 16th Sydney Biennial. She is represented by Franco Noero, Turin and Klosterfelde, Berlin.

[Above: Lara Favaretto, Plotone, 2005. 20 air compressed tanks, 20 pressure regulators, 20 distributings,20 timers, 20 electrovalves, 20 whistles, plastic cables, 165 x 10 each tank. Courtesy of the artist and Galleria Franco Noero, Torino]

New Berlin Galleries: Feinkost & Maribel López Gallery

Two friends of Latitudes are opening their own galleries in Berlin: Feinkost and Maribel López Gallery.

Feinkost opened at the end of September with a show with work by the bulgarian artists Luchezar Boyadjiev. Tomorrow they will inaugurate their second show titled 'The Art World' with works by Ad Reinhardt, Alan Phelan, Balthasar Burkhard, Ben Gavin, Charles Gute, Christian Jankowski, IRWIN, Luchezar Boyadjiev, Matthieu Laurette, Pablo Helguera, Rainer Ganahl, REP Group, SOSka Group, et al.

On December 15th, Maribel López Gallery will open her space with the show 'Game Over Expanded' by Barcelona-based artist Francesc Ruiz.

"Francesc Ruiz (Barcelona, 1971) deploys an array of ‘possible’ fictions, laden with irony and bordering on delirium, which encompass multiple horizons of escaping from and re-inventing reality. His ink drawings alternate with other media, such as installations of black-and-white photocopies glued to the wall, videos and sculptures.On this occasion, in a new series of drawings and an installation, Francesc Ruiz tackles one of his recurring themes—his interest in places of consumption. These spaces enable him to develop narrative exercises charged with unexpected potential for action."

Francesc Ruiz was present at such recent exhibitions as Existencias, MUSAC, León (2007); Où? Scènes du Sud: Espagne, Italie, Portugal, Carrée d’Art – Musée d’art contemporain, Nîmes (2007), Registros y hábitos. Máquina de tiempo/imágenes de espacio, Fundació Antoni Tàpies, Barcelona and CGAC, Santiago de Compostela (2006).

Feinkost (Aaron Moulton & Mette Ravnkilde)
Bernauer Straße 71 - 72
13355 Berlin
T. +49 (0)172 1849732
info[at]galeriefeinkost.com

Maribel López Gallery
Holzmarktstrasse 15-18
S-Bahnbogen 54
10179 Berlin
T: +49 (0) 30 200 54 530
info[at]maribellopezgallery.com