Jan Dibbets’ “6 Hours Tide Object with Correction of Perspective” in the catalogue “By The Sea. Land Art, Performance and Minimal Art”
Tue, Sep 13 2022
Cover of “By the Sea”. Photo: Latitudes
We just received a copy of the catalogue which features works by Milan Adamčiak/Jozef Revallo/Róbert Cyprich, Bas Jan Ader, Nikita Alexeev, Keith Arnatt, Artur Barrio, Bård Breivik, John Cage, Oddvar IN Daren, Ina Hagen, Lumír Hladík, Peter Hutchinson, Tadeusz Kantor, Inghild Karlsen, Alison Knowles, Jiří Kovanda, Milan Kozelka, Jeewi Lee, Cecylia Malik, Ana Mendieta, Fina Miralles, Jüri Okas, Ewa Partum, Zorka Ságlová, Gerry Schum, Mieko Shiomi, Robert Smithson, Gerd Tinglum, The Deadly Doris and Ben Vautier.
ISBN 978-3-9822977-2-9
228 Seiten I Deutsch I Englisch
Price: 25,00 € plus shipping
Jan Dibbets’s project consisted of a reenactment of his “12 Hours Tide Object with Correction of Perspective” (1969) commissioned by Latitudes forty years later to inaugurate the 2009 “Portscapes” commissions series of accumulative projects sited in and around the Port of Rotterdam, the largest seaport in Europe. Portscapes projects were displayed at the Museum Boijmans van Beuningen in Rotterdam in 2010. “Portscapes” was produced by the Port of Rotterdam Authority in collaboration with the sadly now-defunct internationally operating Dutch cultural organisation SKOR | Foundation Art and Public Space (1999–2012).
(Above and below) Pages with Jan Dibbets’ work “6 Hours Tide Object with Correction of Perspective” (2009) included in the catalogue “By the Sea”. Photo: Latitudes
RELATED CONTENT:
- Portscapes “Making of” videos
- Making of video of Jan Dibbets (part 1 and part 2)
- Press Release inaugurating Portscapes
- Portscapes exhibition at the Museum Boijmans van Beuningen
- “6 Hours Tide Object with Correction of Perspective” by Jan Dibbets screened in Barcelona, 10 December 2019
Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC
Tue, Sep 14 2021
Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista.
El 22 de septiembre 2021 a las 19h (UTC -5) se transmitirá a través de Facebook Live del Museo Amparo una conversación que mantuvimos con el artista Jorge Satorre (Ciudad de México, 1979). La conversación quedará registrada en el canal Youtube del museo.
Programada dentro del ciclo ‘‘Diálogos con artistas de la Colección de Arte Contemporáneo”, la conversación se enmarca dentro de la programación de la exposición “El tiempo en las cosas” curada por Tatiana Cuevas en las Salas de Arte Contemporáneo del Museo Amparo en Puebla, México.
La conversación giró entorno al proceso de producción de “The Erratic. Measuring Compensation” (2010), actualmente incluída en la exposición “El tiempo en las cosas”, realizada por Satorre y comisionada por Latitudes como uno de los diez proyectos producidos a lo largo del 2009 en el espacio público del Puerto de Rotterdam, en los Países Bajos.
Durante el verano de 2009, Satorre buscó y localizó una de las gigantescas rocas que los glaciares llevaron a los Países Bajos desde Escandinavia durante la última Edad de Hielo. A raíz de la fascinación del artista por los proyectos de compensación medioambiental que se llevaron a cabo durante el proyecto de ampliación portuaria Maasvlakte 2 (2008–13), Satorre con la ayuda de un equipo de científicos identificó el lugar de origen de un bloque errático y lo devolvió a su lugar de origen, un acto de restitución sintética y compensación escultórica transnacional.
El gesto geológico inverso de Satorre además de reflejar la construcción monumental de Maasvlakte 2 como una escultura de la forma de la tierra que, como la acción del deshielo pero en un tiempo mucho más corto, está alterando para siempre la morfología de los Países Bajos. La acción también se refleja en el hecho de que gran parte de la defensa marítima existente y futura en la zona portuaria se hará con roca traída de Escandinavia. Satorre ofrece un relato del proceso de devolución a través de dibujos que incorporan detalles reales e imaginarios. Uno de estos detalles representa una protesta imaginada al comienzo del viaje de vuelta a casa de la roca y fue presentado a modo de prólogo del proyecto en una valla publicitaria en el Puerto de Rotterdam, el puerto más grande de Europa.
Portscapes fue un encargo de la Autoridad Portuaria de Rotterdam con el asesoramiento y apoyo de la desaparecida organización SKOR (Fundación Arte y Espacio Público, Ámsterdam), y fue curado por Latitudes. En este contexto se encargaron proyectos a Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Hans Schabus y a Jorge Satorre, quien realizó “The Erratic. Measuring Compensation” (2010).
Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista. Foto: B. Wind.
→ CONTENIDO RELACIONADO:
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews, 28 Mar 2012
- 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, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre
Tue, Aug 31 2021
September 2021 cover story on www.lttds.org
The September 2021 monthly Cover Story “Erratic behaviour—Latitudes in conversation with Jorge Satorre” is now up on our homepage: www.lttds.org
“In 2008 the Port of Rotterdam in the Netherlands, the largest in Europe, began a dramatic project to extending its land by 20% into the sea. Known as Maasvlakte 2, the construction involved bringing more than 5 million tons of rock from Scandinavia for the construction of dikes and dams, alongside a programme of ecological offsetting. ”
→ After September 2021 this story will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
- Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
- Cover Story–May 2021: RAF goes viral, 2 May 2021
- Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021
- Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
- Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com
Tue, Dec 17 2019
→ Continue reading.
Originally published in art-agenda on December 13, 2019.
Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port.
(Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
(Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York.
(Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.
(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.
Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
Studio by Christopher Manon during the RijksakademieOPEN 2019.
Studio by Jude Crilli during the RijksakademieOPEN 2019.
Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019.
Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Lotte van Geijn during the RijksakademieOPEN 2019.
Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
(Above
and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a
los árboles, se les reconoce por sus frutos’ [Revolutions, like trees,
are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
LA-artist Matthew Monahan at Fons Welters, Amsterdam.
Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).
(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.
(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.
Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.
Tahmina Negmat at Althuis Hofland.
Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).
And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.
→ RELATED CONTENT:
- Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ at Espai d'art contemporani de Castelló for art-agenda 8 January 2019
- Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018 28 November 2018
- Mariana Cánepa Luna's London Roundup of Frieze week 2018 for art-agenda.com 15 octubre 2018
- Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition at the Fundació Tàpies, Barcelona, for art-agenda.com 21 Marzo 2018
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna review of Ana Jotta's exhibition at ProjecteSD, Barcelona, for art-agenda 11 November 2016.
- Mariana Cánepa Luna review of Francesc Ruiz exhibition at garcía galería, Madrid, for art-agenda 4 March 2016.
- Amsterdam Art Weekend 2014 on Wakelet 27–30 November 2014
- Latitudes review of Andrea Büttner exhibition at NoguerasBlanchard, Barcelona, for art-agenda, 21 July 2014.
Latitudes "Out of office", 2013–2014 season
Thu, Jul 31 2014This is the sixth consecutive year [see 2008-9, 2009-10, 2010-11, 2011-12 and 2012–13] that we wave goodbye to the season as many of us say 'hello, holidays' by sharing what has become something of a Latitudes' tradition. Our yearly 'out of office' includes some unseen and 'behind the scenes' moments from the last season. This casual yearly report has always been a welcome opportunity to revise the many photographs that have been buried on hard drives, to reflect on the past year, the fantastic people we met, enriching things we have seen, and to recharge for future challenges.
This post heralds a short period of deceleration of our online activity (that is tending to our inbox, as well as this blog, Facebook and Twitter). We'll take a short break during August, but will be back in September with renewed energy. Until then, have a great summer break/Feliz verano dear readers!
11–16 October 2013: 'Agora', Athens Biennial 4, Greece. Read the full report here.
21–28 October 2013: As part of the Young Curators Invitational programme (YCI) coinciding with FIAC, we were invited to visit several institutions, gallery spaces and studios in Paris – Click here to read the full report of that week, or here for the archive of our tweets.
16 November 2013: Seminar for "Curating the present. Theory and practice of the contemporary art exhibition", organised by Tania Pardo, Sergio Rubira and Alberto Sánchez Balmisawith La Casa Encendida, Madrid.
20 November 2013: At the kind invitation of the wonderful The Common Guild in Glasgow, on 21 November we gave a lecture about the work of Roman Ondák – read the text here. We also took the opportunity to do some studio visits – see full Report from Glasgow (posted on 4 December) – including Lucy Skaer's exhibition at Tramway; see Max's Frieze review.
25 January 2014: Opening of "The Margins of the Factory" a solo show by Rotterdam-based Iratxe Jaio and Klaas van Gorkum, at ADN Platform in Sant Cugat (Barcelona). Photos of the show here, reviews and exhibition leaflet here and all the social media posts archived here.
19–22 February 2013: Since November 2013, Latitudes had been guest Tweeting from @ARCOmeetings, advancing content and profiling the +70 participants of the seven Professional Meetings that took place during ARCOmadrid art fair. During the fair, we live-Tweeted each session as well as the 'III Meeting of Museums of European and Iberoamerica'. Our reportage and commentary spanned over 1200 Tweets – they're archived here.
18 March 2014: Max in conversation with Dutch artist Remco Torenbosch at the Fundació Antoni Tàpies, Barcelona, in the context of his exhibition at NoguerasBlanchard.
On May 14, we gave a lecture and an afternoon seminar with PhD candidates in Curatorial Practice at MADA | Monash University in Melbourne, focusing on 2012–13 research project #OpenCurating, and in particular the published interviews with the web team from the Walker Art Center in Minneapolis; with Badlands Unlimited in New York; with research curator Steven ten Thije of the Van Abbemuseum in Eindhoven and with Dia Art Foundation Curator, Yasmil Raymond.
During
our Melbourne residency we made more than thirty studio visits, and also met curators,
graphic designers, writers, editors and University professors. We also paid visits to
galleries (Neon Parc, Sarah Scout, Sutton Gallery, Utopian Slumps, Tolarno Gallery, Anna Schwartz Gallery...), bookstores (the jewel-box that is World Food Books),
non-profits, curator-led projects and artist-run-spaces (West Space, Slopes) and of course museums
such MUMA at Monash, the Ian Potter Museum, the National Gallery Victoria, or the fantastic Heide Museum, which hosted a solo show of Emily Floyd (pictured below).
We had one day to explore the stunning Great Ocean Road. We saw a couple of wild koalas as well as local-speciality birdlife including Rufous Bristlebird and Hooded Dotterel, plus many surfers waiting for the perfect wave, before driving back to the city.
26–31 May 2014: Visiting Sydney and the 19th Biennale of Sydney.
1 June 2014: Short trip to Hobart in Tasmania to pay a visit to professional gambler and philanthropist David Walsh's extravaganza, the Museum of Old and New Art (MoNA). Despite the tech-geek owner and the 'O' device (iPod devices which function as extended audio guides, digital captions and location trackers), photography is not officially allowed inside the galleries, although you can, in fact, find plenty of shots on social media. Here instead are some views from the museum while waiting for the Bond-villain ferry to take us back to Hobart.
11–14 June 2014: Singapore Curating Lab 2014 begins! This 9-month programme began with a 3h morning lecture by Latitudes, followed by an afternoon workshop in which we asked participants to imagine an institution by defining a succinct "about us" paragraph for three imaginary institutions. Following the root of word "institution" (to establish, to set up), the task involved considering what practices were to be initiated, how programmes were to be established, and for what public. Read more here. Below the Tweets published, explaining each group's task.
14 June 2014: Symposium "When does an exhibition begin and end?", National Library of Singapore. With the participation of Shabbir Hussain Mustafa (Curator, National Gallery Singapore), Charles Lim (artist); Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao.
16–20 June 2014: Curating Lab 2004 Overseas Field Trip to Hong Kong, where participants were introduced to the programme and spaces of Spring Workshop, Asia Art Archive, Para/Site and M+. The many tweets published by ourselves and the participants are archived here.
In January 2014, Mariana wrote a text on Time/Bank for the digital catalogue of the exhibition "7.000.000.000" curated by Arlandis/Marroquí for the Espai d'art Contemporani Castelló (EACC).
17 July 2014: Jointly published an art-agenda review on Andrea Buttner's "Tische" show at NoguerasBlanchard, Barcelona.
One of the most widely-read blog posts of the year has been the analysis of the 2013 report that the Ministry of Education, Culture and Sports dedicated to the state of culture in Spain (La cultura en España (2a parte): estadísticas, cifras y porcentajes del 2013, a follow up to the 2012 analysis), quite symptomatic of what has been another difficult year for the cultural sector.
Related posts:
Latitudes' "out of office" photo album 2008-9, 30 July 2009
Latitudes 'out of office' photo album 2009–10 season, 30 July 2010
Latitudes 'out of office' photo album 2010–11 season, 1 August 2011
Latitudes' "out of office" photo album 2011–2012, 31 July 2012
Latitudes' "out of office" photo album, 2012–2013 season, 31 July 2013
–
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All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2013, 2014, ARCOmadrid, art-agenda, Athens, Frieze, Glasgow, Iratxe Jaio and Klaas van Gorkum, latitudes, Melbourne, Moderations, out of office, Paris, Reviews, Rotterdam, Singapore
This post heralds a short period of deceleration of our online activity (that is tending to our inbox, as well as this blog, Facebook and Twitter). We'll take a short break during August, but will be back in September with renewed energy. Until then, have a great summer break/Feliz verano dear readers!
11–16 October 2013: 'Agora', Athens Biennial 4, Greece. Read the full report here.
| Beautiful Acropolis floor. |
Afternoon light over the façade of the National Archaeological Museum.
An astonishing exhibition presenting severely-eroded antiquities recovered from the legendary shipwreck off the islet of Antikythera, south of the Peloponnese. (Hello, Matthew Monahan and Thomas Houseago!)
Group photo of the Young Curators Invitational programme (YCI) 2013 participants nearby one of the massive and over-the-top fountains at Versailles. Some 1980s (or maybe 1880s?) dance moves going on for some reason.
We were looking forward to visiting this particular 18th-Century cabinet of curiosities, but only managed to take this one photo before we were told off. It's the Cabinet de Curiosités de Joseph Bonnier de La Mosson, at the Médiathèque of the Muséum National d'Histoire Naturelle at the Jardin des Plantes. Quite a lot of fluff has been written about Cabinets de Curosités and exhibition-making, and some terrible art made in its name, but this slice of history is quite extraordinary, beautiful and shocking and 'very much of its time' to put it mildly. See some better photos here.
16 November 2013: Seminar for "Curating the present. Theory and practice of the contemporary art exhibition", organised by Tania Pardo, Sergio Rubira and Alberto Sánchez Balmisawith La Casa Encendida, Madrid.
About to begin our lecture...
During our Madrid visit, we visited Roman Ondák's intervention at Palacio de Cristal (above) which got a short mention in our Roman Ondák lecture in Glasgow a few days after.
20 November 2013: At the kind invitation of the wonderful The Common Guild in Glasgow, on 21 November we gave a lecture about the work of Roman Ondák – read the text here. We also took the opportunity to do some studio visits – see full Report from Glasgow (posted on 4 December) – including Lucy Skaer's exhibition at Tramway; see Max's Frieze review.
27 November 2013: Mariana Cánepa Luna gave an afternoon seminar on a range of Latitudes' projects for the course 'On Mediation – Theory and Curatorial Practice in Global Art’ at the Universitat de Barcelona.
25 January 2014: Opening of "The Margins of the Factory" a solo show by Rotterdam-based Iratxe Jaio and Klaas van Gorkum, at ADN Platform in Sant Cugat (Barcelona). Photos of the show here, reviews and exhibition leaflet here and all the social media posts archived here.
 |
Photo via Facebook of Miguel Ángel Sánchez, posted with the caption: "Curators backing up the artist! The awesome outcome of this team effort at ADN Platform. On view from Saturday 25th".
Klaas installing the series of photos that form part of Producing time in between other things (2011).
 |
Exhibition guide designed and produced by Latitudes includes texts on each piece and an A3 sized fold-out poster. Download in English and in Spanish.
Nathaniel Mann's opening performance included his singing the Basque popular song “Oi Peio Peio” – a dialogue between a woman worker and her cruel boss, who insists that she carries on working throughout the night. Watch video of the performance here. Photo: Joan Morey
Photo published by Amanda Bernal in her exhibition preview at Tot Sant Cugat.
19–22 February 2013: Since November 2013, Latitudes had been guest Tweeting from @ARCOmeetings, advancing content and profiling the +70 participants of the seven Professional Meetings that took place during ARCOmadrid art fair. During the fair, we live-Tweeted each session as well as the 'III Meeting of Museums of European and Iberoamerica'. Our reportage and commentary spanned over 1200 Tweets – they're archived here.
Welcoming words by Joao Fernandes, Deputy Director of the Museo Nacional Centro de Arte Reina Sofía, before kicking off the 'III Meeting of
Museums of European and Iberoamerica'.
The "Biennials at the Periphery" session was masterfully moderated by the SITE Santa Fe team.
18 March 2014: Max in conversation with Dutch artist Remco Torenbosch at the Fundació Antoni Tàpies, Barcelona, in the context of his exhibition at NoguerasBlanchard.
 |
| Photo by @priscilaclementti. |
12 May–7 June: Visiting Curator Programme of Gertrude Contemporary in Melbourne, Australia, in partnership with MADA: Monash School of Art Design and Architecture. Our month-long residency is documented in this Storify thread.
Central Melbourne.
On May 14, we gave a lecture and an afternoon seminar with PhD candidates in Curatorial Practice at MADA | Monash University in Melbourne, focusing on 2012–13 research project #OpenCurating, and in particular the published interviews with the web team from the Walker Art Center in Minneapolis; with Badlands Unlimited in New York; with research curator Steven ten Thije of the Van Abbemuseum in Eindhoven and with Dia Art Foundation Curator, Yasmil Raymond.
Photo: Courtesy MADA.
On May 23rd we shadowed a site visit to the fascinating Living Museum of the West (photo below) in Maribyrnong, a social history museum and former industrial site which will be the focus a forthcoming project by West Space with artists Susan Jacobs and Geoff Robinson, among others. Below their analogue archive over interviews, with plenty of cassettes, binders and filing cabinets.
26–31 May 2014: Visiting Sydney and the 19th Biennale of Sydney.
A great welcome to Sydney sunset by the Opera House.
Bianca Hester's 'fashioning discontinuities', 2013–14, at Cockotoo Island was one of the (frankly very few) highlights of the 2014 edition of the Sydney Biennale.
One of the best things we saw in Sydney was a one-room show dedicated to 'Tehching Hsieh: One-year performance 1980–1981' at Carriageworks.
Entrance to the artist-run space Alaska Projects, whose creative base camp is level 2 of Kings Cross Car Park.
1 June 2014: Short trip to Hobart in Tasmania to pay a visit to professional gambler and philanthropist David Walsh's extravaganza, the Museum of Old and New Art (MoNA). Despite the tech-geek owner and the 'O' device (iPod devices which function as extended audio guides, digital captions and location trackers), photography is not officially allowed inside the galleries, although you can, in fact, find plenty of shots on social media. Here instead are some views from the museum while waiting for the Bond-villain ferry to take us back to Hobart.
11–14 June 2014: Singapore Curating Lab 2014 begins! This 9-month programme began with a 3h morning lecture by Latitudes, followed by an afternoon workshop in which we asked participants to imagine an institution by defining a succinct "about us" paragraph for three imaginary institutions. Following the root of word "institution" (to establish, to set up), the task involved considering what practices were to be initiated, how programmes were to be established, and for what public. Read more here. Below the Tweets published, explaining each group's task.
14 June 2014: Symposium "When does an exhibition begin and end?", National Library of Singapore. With the participation of Shabbir Hussain Mustafa (Curator, National Gallery Singapore), Charles Lim (artist); Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao.
 |
| Curatorial Intensive participants live-tweeting, mapping concepts discussed during talks, photo-documenting and taking notes for future posts on Curating Lab blog. Photo: @nusmuseum. |
Symposium moderators taking notes during the conference. Photo via @hemanchong
16–20 June 2014: Curating Lab 2004 Overseas Field Trip to Hong Kong, where participants were introduced to the programme and spaces of Spring Workshop, Asia Art Archive, Para/Site and M+. The many tweets published by ourselves and the participants are archived here.
Afternoon discussion at Spring Workshop.
Christodoulous Panayiotou and Philip Wiegard's exhibition at Spring Workshop.
Curating Lab 2014 group photo in Hong Kong airport before boarding to Singapore.
31 July 2014: Master Class for the 2014 Open Set Summer School at Witte de With, Rotterdam. After a lecture on the tour as an artistic/curatorial format, participants work towards developing prototype guided tours for Rotterdam. More photos here.
Also great to finally be able to visit "The Part In The Story Where A Part Becomes A Part Of Something Else" exhibition curated by Heman Chong and Samuel Saelemakers at Witte de With, the epilogue to Moderation(s). Here interacting with Haegue Yang's 'Sonic Nickel Dance' (2013).
The night before the workshop, a great catch up a picnic with 'Portscapes' collaborators (Liesbeth Bik & Jos van der Pol, better known as Bik van der Pol, Lara Almarcegui, Nienke Terpsma and Rob Hamelijnck of Fucking Good Art and graphic designer Samira Ben Laloua). Ahhh, good memories!
During the past weeks we've been proofreading layouts with documentation of our 2013 residency and four "Incidents of Travel" tours we realised in Hong Kong, our contribution to the forthcoming publication "Terms & Conditions" published by Witte de With, Rotterdam as part of the Moderation(s) project steered by Heman Chong.
In the past months, Max Andrews has published the following texts in frieze magazine: Exhibition review of Pablo Helguera's ‘Librería Donceles’ (Donceles Bookshop, 2013) at Kent Fine Art, New York, issue 160, January–February 2014; Review of Lucy Skaer's solo show at Glasgow's Tramway, issue 161, March 2014; Postcard "On a Shoestring. Institutions in Catalonia", issue 158, October 2013; and a Focus, Iratxe Jaio and Klaas van Gorkum, Issue 157, September 2013. Max has also contributed to the publication that will accompany the forthcoming Frieze Art Fair, London (out in October 2014).
Also great to finally be able to visit "The Part In The Story Where A Part Becomes A Part Of Something Else" exhibition curated by Heman Chong and Samuel Saelemakers at Witte de With, the epilogue to Moderation(s). Here interacting with Haegue Yang's 'Sonic Nickel Dance' (2013).
Photo: @ymessen.
The night before the workshop, a great catch up a picnic with 'Portscapes' collaborators (Liesbeth Bik & Jos van der Pol, better known as Bik van der Pol, Lara Almarcegui, Nienke Terpsma and Rob Hamelijnck of Fucking Good Art and graphic designer Samira Ben Laloua). Ahhh, good memories!
During the past weeks we've been proofreading layouts with documentation of our 2013 residency and four "Incidents of Travel" tours we realised in Hong Kong, our contribution to the forthcoming publication "Terms & Conditions" published by Witte de With, Rotterdam as part of the Moderation(s) project steered by Heman Chong.
In the past months, Max Andrews has published the following texts in frieze magazine: Exhibition review of Pablo Helguera's ‘Librería Donceles’ (Donceles Bookshop, 2013) at Kent Fine Art, New York, issue 160, January–February 2014; Review of Lucy Skaer's solo show at Glasgow's Tramway, issue 161, March 2014; Postcard "On a Shoestring. Institutions in Catalonia", issue 158, October 2013; and a Focus, Iratxe Jaio and Klaas van Gorkum, Issue 157, September 2013. Max has also contributed to the publication that will accompany the forthcoming Frieze Art Fair, London (out in October 2014).
In January 2014, Mariana wrote a text on Time/Bank for the digital catalogue of the exhibition "7.000.000.000" curated by Arlandis/Marroquí for the Espai d'art Contemporani Castelló (EACC).
17 July 2014: Jointly published an art-agenda review on Andrea Buttner's "Tische" show at NoguerasBlanchard, Barcelona.
| View of Andrea Büttner, Tische, NoguerasBlanchard, Barcelona, 2014. Courtesy of NoguerasBlanchard, Barcelona. All photos by Roberto Ruiz. |
One of the most widely-read blog posts of the year has been the analysis of the 2013 report that the Ministry of Education, Culture and Sports dedicated to the state of culture in Spain (La cultura en España (2a parte): estadísticas, cifras y porcentajes del 2013, a follow up to the 2012 analysis), quite symptomatic of what has been another difficult year for the cultural sector.
Related posts:
Latitudes' "out of office" photo album 2008-9, 30 July 2009
Latitudes 'out of office' photo album 2009–10 season, 30 July 2010
Latitudes 'out of office' photo album 2010–11 season, 1 August 2011
Latitudes' "out of office" photo album 2011–2012, 31 July 2012
Latitudes' "out of office" photo album, 2012–2013 season, 31 July 2013
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Witte de With opens the group show "The Part In The Story Where A Part Becomes A Part Of Something Else" on May 22, 2014
Mon, Apr 21 2014 |
| Anthony Marcellini, "The Object In And Of Itself", 2011. Courtesy the artist and Witte de With, Rotterdam. |
The group exhibition "The Part In The Story Where A Part Becomes A Part Of Something Else", opening on 22 May at Rotterdam's Witte de With brings a conclusion to "Moderation(s)", the long-term multifarious programme that began in August 2012 with a teaser event at Spring Workshop, Hong Kong, co-partner of the initiative.
The exhibition, curated by 'moderator' Heman Chong (artist and writer, Singapore) and Samuel Saelemakers (Associate Curator, Witte de With), will include works by +40 artists "gathered around key concepts such as time, duration and space (Douglas Gordon, Felix Gonzalez-Torres, On Kawara), memory and inscription (Ang Song Ming, John Cage, Sharon Hayes), transformation (Bik Van der Pol, Nicolás Lamas), pleasure (Ivan Argote, Chu Yun, Willem de Rooij, Haegue Yang), and encounters (Lee Kit, Narcisse Tordoir)." [from the website].
"Moderation(s)" began in January 2013 with Latitudes' month-long residency at Spring Workshop, Hong Kong, with its project "Incidents of Travel": an invitation to four Hong Kong-based artists – Nadim Abbas, Ho Sin Tung, Yuk King Tan and Samson Young – to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints.
 |
| Around Kwun Tong market and shops with Samson Young. Photo: Spring Workshop. More photo-documentation here. |
On 31 January a group of "Moderation(s)" participants [Heman Chong, Latitudes (Mariana Cánepa Luna and Max Andrews), Nadim Abbas, Mimi Brown, Chantal Wong, and Yuk King Tan] spent eight hours consulting the Asia Art Archive and engaging in multiple discussions around collectivity, time and knowledge triggered by archival resources [see "Asia Art Archive Intervention"].
Latitudes will also contribute to the forthcoming publication to be released on the occasion of the "The Part In The Story...", with documentation from each of the "Incidents of Travel" tours and an interview with curator Christina Li, Moderation(s)' witness.
 |
| Participants during the Asia Art Archive intervention on 31 January 2013. Photo: Spring Workshop. |
Follow:
#ThePartInTheStory
Related posts:
- Nadim Abbas' "Incidents of Travel: Hong Kong" public tour (19 January 2013)
- Ho Sin Tung "Incidents of Travel: Hong Kong" tour (30 January 2013)
- Yuk King Tan's "Incidents of Travel: Hong Kong" tour (3 February 2013)
- Samson Young's "Incidents of Travel: Hong Kong" tour (7 February 2013)
- Latitudes' Open Day at Spring Workshop on 2 February 2013 (9 February 2013)
- "Digression(s), Entry Point(s): An interview with Heman Chong", Singapore-based artist, curator and writer. Eighth in the #OpenCurating research series. (4 April 2013)
- "Archive as Method: An Interview with Chantal Wong, Hammad Nasar and Lydia Ngai" of the Asia Art Archive, Hong Kong. Concluding #OpenCurating interview. (1 May 2013)
- Archive of social media posts related to "Incidents of Travel" tours and photo-documentation.
- Archive of Moderation(s) posts.
This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
25 January 2014: Opening of the solo exhibition 'The Margins of the Factory' by Iratxe Jaio & Klaas van Gorkum at ADN Platform, Sant Cugat del Vallès (Barcelona)
Wed, Jan 8 2014The Margins of the Factory, a solo exhibition by the Rotterdam-based duo Iratxe Jaio & Klaas van Gorkum curated by Latitudes will open on Saturday 25 January 2014, as part of ADN Galería and ADN Platform's exhibitions programme.
Opening programme:
12h: Opening at ADN Galería (c/ Enric Granados 49, Barcelona). Exhibition: “This is not Just Fucking Business” by Carlos Aires
13:15h: Buses depart from ADN Galería towards ADN Platform (Avda. Can Roquetas, Sant Cugat del Vallès). To book a seat in the bus: info@adngaleria.com / 93 451 0064
14h: Arrival at ADN Platform and light lunch. Exhibitions: Micro-actions of Emergency #2 [Curated by Colectivo de vuelta y vuelta (Claudia Segura & Inés Jover)] and The Margins of the Factory by Iratxe Jaio & Klaas van Gorkum [Curated by Latitudes].
14:15h: 15 min. voice and instrumental performance by Nathaniel Robin Mann, as part of The Margins of the Factory.
16/16:30h: Buses return from ADN Platform (Sant Cugat) towards ADN Galería (Barcelona).
The Margins of the Factory presents two recent projects by Iratxe Jaio & Klaas van Gorkum that are motivated by their interest in art's relationship with labour. Each explores sculptural form and manufacturing processes from the perspective of artists who have not usually made objects. Jaio & van Gorkum undertake what are in part sociological investigations by documenting the local, marginal effects of the displacement of manufacturing industries over the last two generations with the emergence of the global market. Emerging from the artists' personal history and implicating the direct effects of their own vocation as well as work they ask of others, the projects are moreover complicit in asking what kind of industriousness brings value and what political life objects might have.
The exhibition opening will also feature a performance by British “avant-folk” musician Nathaniel Robin Mann, developed in collaboration with Jaio & van Gorkum around the raw footage of Work in Progress and the tradition of work song. Mann interprets the Basque popular song “Oi Peio Peio” – a dialogue between a woman worker and her cruel boss, who insists that she carries on working throughout the night. First collected in Cancionero Popular Vasco in 1918, the song was popularized by singer–songwriter Mikel Laboa, founder of “Ez Dok Amairu” (“No Thirteen”), the cultural movement of Basque poets, musicians and artists whose name was a suggestion of sculptor Jorge Oteiza.
Central to Producing time in between other things (2011) is a selection of wooden objects made by retired factory worker Jos van Gorkum – Gorkum’s grandfather – which the artists documented in the homes of his relations, friends and former neighbours across the Netherlands. During this process, the artists located the original lathe on which these items had been crafted and began to teach themselves woodturning. The forms which they made as they worked at learning a hobby become the means to support the display of the original objects, presented alongside three videos and photography.
Work in Progress (2013) immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand. Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the "Chalk Laboratory" of Basque sculptor Jorge Oteiza, a fierce critic of the commodification of art.
Visit adnplatform:
Avda. Can Roquetas (corner with Victor Hugo)
08173 Sant Cugat del Vallès
info@adngaleria.com
Tel. (+34) 93 451 00 64
By appointment only
Location map
Download the A3 invite-as-poster-as-leaflet of the exhibition (Spanish & English versions).
Producing time in between other things was produced as part of the Latitudes-curated Amikejo exhibition season at MUSAC, León, in 2011, supported in part by the Mondriaan Foundation (now Mondriaan Fonds). Work in Progress was produced with support from the Eremuak program of the Basque Government and from the Centrum Beeldende Kunst Rotterdam.
Related content:
"Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 (14 October 2013).
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This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2014, ADN Platform, Amikejo, Iratxe Jaio and Klaas van Gorkum, MUSAC, Rotterdam, Solo show
Opening programme:
12h: Opening at ADN Galería (c/ Enric Granados 49, Barcelona). Exhibition: “This is not Just Fucking Business” by Carlos Aires
13:15h: Buses depart from ADN Galería towards ADN Platform (Avda. Can Roquetas, Sant Cugat del Vallès). To book a seat in the bus: info@adngaleria.com / 93 451 0064
14h: Arrival at ADN Platform and light lunch. Exhibitions: Micro-actions of Emergency #2 [Curated by Colectivo de vuelta y vuelta (Claudia Segura & Inés Jover)] and The Margins of the Factory by Iratxe Jaio & Klaas van Gorkum [Curated by Latitudes].
14:15h: 15 min. voice and instrumental performance by Nathaniel Robin Mann, as part of The Margins of the Factory.
16/16:30h: Buses return from ADN Platform (Sant Cugat) towards ADN Galería (Barcelona).
The Margins of the Factory presents two recent projects by Iratxe Jaio & Klaas van Gorkum that are motivated by their interest in art's relationship with labour. Each explores sculptural form and manufacturing processes from the perspective of artists who have not usually made objects. Jaio & van Gorkum undertake what are in part sociological investigations by documenting the local, marginal effects of the displacement of manufacturing industries over the last two generations with the emergence of the global market. Emerging from the artists' personal history and implicating the direct effects of their own vocation as well as work they ask of others, the projects are moreover complicit in asking what kind of industriousness brings value and what political life objects might have.
The exhibition opening will also feature a performance by British “avant-folk” musician Nathaniel Robin Mann, developed in collaboration with Jaio & van Gorkum around the raw footage of Work in Progress and the tradition of work song. Mann interprets the Basque popular song “Oi Peio Peio” – a dialogue between a woman worker and her cruel boss, who insists that she carries on working throughout the night. First collected in Cancionero Popular Vasco in 1918, the song was popularized by singer–songwriter Mikel Laboa, founder of “Ez Dok Amairu” (“No Thirteen”), the cultural movement of Basque poets, musicians and artists whose name was a suggestion of sculptor Jorge Oteiza.
 |
| Installation of Producing time in between other things. Courtesy of the artists. Photo: MUSAC. |
Central to Producing time in between other things (2011) is a selection of wooden objects made by retired factory worker Jos van Gorkum – Gorkum’s grandfather – which the artists documented in the homes of his relations, friends and former neighbours across the Netherlands. During this process, the artists located the original lathe on which these items had been crafted and began to teach themselves woodturning. The forms which they made as they worked at learning a hobby become the means to support the display of the original objects, presented alongside three videos and photography.
 |
| Still from the video "Work in Progress". Courtesy of the artists. |
Work in Progress (2013) immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand. Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the "Chalk Laboratory" of Basque sculptor Jorge Oteiza, a fierce critic of the commodification of art.
Visit adnplatform:
Avda. Can Roquetas (corner with Victor Hugo)
08173 Sant Cugat del Vallès
info@adngaleria.com
Tel. (+34) 93 451 00 64
By appointment only
Location map
Download the A3 invite-as-poster-as-leaflet of the exhibition (Spanish & English versions).
Producing time in between other things was produced as part of the Latitudes-curated Amikejo exhibition season at MUSAC, León, in 2011, supported in part by the Mondriaan Foundation (now Mondriaan Fonds). Work in Progress was produced with support from the Eremuak program of the Basque Government and from the Centrum Beeldende Kunst Rotterdam.
Related content:
"Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 (14 October 2013).
–
This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Latitudes residency in Spring Workshop, Hong Kong, 7 January–10 February 2013, as part of the year-long programme Moderation(s)
Thu, Dec 27 2012+Logo.jpg)
Moderation(s) is a year-long programme occurring throughout 2013 between Witte de With, Rotterdam, and Spring, Hong Kong. It's ‘moderator’, Singaporean visual artist and writer Heman Chong, will steer a program involving more than fifty artists, curators and writers, and engender a conference, three exhibitions, three residencies and a book of short stories.
Moderation(s) begins by hosting the Barcelona-based curatorial office Latitudes for a month residency in Hong Kong (7 January–10 February 2013). During this time, Latitudes will investigate the urban territory from a curatorial perspective by looking into how it is articulated through specialist tours and attractions, both phenomena at the edge of the cultural, tourism and leisure sectors.
As part of this – and elaborating on the approach of their recent project Incidents of Travel [see here] at Casa del Lago, Mexico City – the duo invited Hong Kong-based artists Nadim Abbas, Yuk King Tan, Ho Sin Tung and Samson Young to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints. Alongside these ventures into the city, research around local forms of vernacular collection display and eccentric attractions will be made. This will encompass self-made or esoteric museums, museum-like retail spaces, or ‘marginal’ sculptural displays.
Incidents of Travel Mexico City. Day 3: Tour with Diego Berruecos. Visiting the Biblioteca Nacional Lerdo de Tejada. Photo: Eunice Adorno.
In October 2012, a working group of artists, curators, and Witte de With staff members came together in Rotterdam. Comprised of A Constructed World (Geoff Lowe and Jacqueline Riva), Nadim Abbas, Defne Ayas, Mimi Brown, Amira Gad, Natasha Ginwala, Latitudes (Max Andrews and Mariana Cánepa Luna), Michael Lee, Christina Li, Pages (Nasrin Tabatabai and Babak Afrassiabi), Vivian Sky Rehberg, and Samuel Saelemakers, the group took part in a two-day workshop developed by Heman Chong to explore and identify materials that will drive the content of Moderation(s). The first project to surface from this workshop is Bibliotheek (Library), a list of books identified by the group to function both as a bibliography for Moderation(s), as well as a planned physical library that will be installed both at Witte de With and Spring.
In speaking about this project, moderator Heman Chong proposes “to make ‘soft’ the practices of both artist and curator, so that one becomes easily soluble in the other, while retaining their unique forms and patterns of working. The participants will be encouraged to indulge in the pleasures of exchanging knowledge and tools without any pressure to collaborate.”
The 2013 programme includes:
Latitudes will produce Incidents of Travel (Spring, January 2013), for which the duo will invite four artists in Hong Kong to develop day-long tours that articulate the city and their artistic practice through routes and waypoints. Artist Michael Lee will join the project to develop a series of maps and charts that trace the larger constellation of Moderation(s). Performances by artists including Benjamin Seror, Anthony Marcellini, Koki Tanaka, and many more will occur in and around Rotterdam in A Thing At A Time (Witte de With, April 2013). In June, fifteen artists, curators, and writers will produce short stories during A Fictional Residency (Spring, June 2013). Additionally, a conference in four parts led by various moderators involving twelve guests will be staged (Witte de With, October 2013). A Constructed World will produce The Social Contract (Spring, October 2013), a work in which audiences are asked to sign a legal contract restraining them from speaking about what they saw inside the exhibition. The Part In The Story Where A Part Becomes A Part Of Something Else (Witte de With, December 2013), a large-scale show mounted at Witte de With that will sublimate many of the conversations and gestures found within Moderation(s).
Latitudes will produce Incidents of Travel (Spring, January 2013), for which the duo will invite four artists in Hong Kong to develop day-long tours that articulate the city and their artistic practice through routes and waypoints. Artist Michael Lee will join the project to develop a series of maps and charts that trace the larger constellation of Moderation(s). Performances by artists including Benjamin Seror, Anthony Marcellini, Koki Tanaka, and many more will occur in and around Rotterdam in A Thing At A Time (Witte de With, April 2013). In June, fifteen artists, curators, and writers will produce short stories during A Fictional Residency (Spring, June 2013). Additionally, a conference in four parts led by various moderators involving twelve guests will be staged (Witte de With, October 2013). A Constructed World will produce The Social Contract (Spring, October 2013), a work in which audiences are asked to sign a legal contract restraining them from speaking about what they saw inside the exhibition. The Part In The Story Where A Part Becomes A Part Of Something Else (Witte de With, December 2013), a large-scale show mounted at Witte de With that will sublimate many of the conversations and gestures found within Moderation(s).
Twitter: #Moderations / @WdWcentrum / @SpringHK / @HemanChong / @LTTDS
Moderation(s) is initiated by Witte de With’s Director Defne Ayas and Spring Workshop Founder Mimi Brown.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Moderation(s) meeting in Rotterdam and a few shows in Amsterdam
Thu, Oct 25 2012
Last week we were in Witte de With, Rotterdam, for a two-day meeting in preparation for the 2013 project Moderation(s). Moderation(s)
is a year-long programme of residencies, performances, exhibitions, workshops and
research initiated by Witte de With’s director Defne Ayas and Spring Workshop founder Mimi Brown.
At the core of the project stands ‘The Moderator’, incarnated
by Singaporean visual artist and writer Heman Chong. More news soon, in the meantime you can read more in this interview with the artist.
At the end of the first day of the workshop, Witte de With director Defne Ayas, gave a tour of their current show 'The Humans', a year-long project by visual artist and writer Alexander Singh (image above and three photos below), which "includes a variety of formats, from presentations and rehearsals to discursive events that are informed by the props produced on site. Leading up to the final presentation of his play in the Spring of 2013, Singh transforms Witte de With’s second floor into an artist’s studio." (text from Witte de With's website).
The exhibition included spatial design by architect Markus Miessen, including "a multi-purpose yellow monolith. This giant modular cube consisting of sixty-four separate blocks constantly mutates in accordance to a series of events taking place in 2012, including Singh’s Causeries."
(from the website).
The previous evening to the workshop TENT and Witte de With hosted an evening of events which began with a lecture by Vivien Sky Rehberg's "Deschooling/Deskilling" lecture.
(Above) Rotterdam ladies on stage. Left to right: Mariette Dölle (Programme director, TENT), Vivian Sky Rehberg (Director of the Master of Fine Art at the Piet Zwart Institute) and Defne Ayas (Director, Witte de With) introducing the evening.
Downstairs TENT had the exhibition "Between the map and the territory"
which included the below installation by curator Maaike Gouwenberg and
artist Joris Lindhout, on their ongoing research into the "gothic as a
cultural strategy".
Bik van der Pol's piece "Accumulate, Collect, Show" (below) at TENT (originally produced as part of Frieze Projects 2011). View video of the piece changing the modular text elements to spell out a number of abstract idioms, quotes and maxims here.
(Above) view of 'Untitled (Assimilated being), version 2"( 2011) by Swiss artist Karin Hueber: "Hueber’s work consists of installations of architectural elements that are apparently waiting to be used, as pieces of scenery for a stage production, as attributes for a performance. Elements are bent, folded, doubled, reversed or enlarged." (from the website).
On Sunday 21st we visited Amsterdam, quickly visiting the new spaces of de Appel and W139. de Appel presented the group show "Stem Terug! / Vote back!" which included a new presentation of the 2010 work "Local regulation" by Amikejo artists Iratxe Jaio and Klaas van Gorkum (image below).
(Above) General view of the first room of the exhibition with works by Artur Zmijewski ("Them (Oni)", 2007), Iratxe Jaio and Klaas van Gorkum ("Plaatselijke Verordening" (Local Regulation), 2010) and Otto Berchem ("Blue Monday", 2011).
(Above) General view of the first room of the exhibition with works by Sam Durant ("Tell it like it is", 2005), Yuri Veerman ("Red White Blue", 2012) and Otto Berchem ("Blue Monday", 2011).
(Above) Otto Berchem's "Blue Monday", 2011. Courtesy Gallery La Central.
(above and below) The Yes Men spoof edition of the "New York Times Special Edition", 2008.
The nearby W139 hosted the group exhibition "The Research and Destroy Department of Black Mountain College" (below) with the participation of 30+ artists whose work share the idea of 'collecting'.
At 4pm we joined the tour of the exhibition "Time, Trade and Travel" by Stedelijk Museum Bureau Amsterdam curator Jelle Bouwhuis (photographed below). The event coincided with the closing day of the exhibition.
Following Bouwhuis' tour, there was an in conversation between American artist Zachary Formwalt and Dutch critic and historian Sven Lütticken in which they discussed Formwalt's film 'A Projected Geometry' (2012) (presented in the "Time, Trade and Travel") in relation to his previous film work such as "unsupported transit" (2011), amongst others.
Witte de With, TENT, Stedelijk Museum Bureau Amsterdam (SMBA), de Appel and W139 were all part of Latitudes' curated programme 'The Dutch Assembly': 30 hourly talks, readings, artists presentations, performances, book launches, in conversations and screenings presented last February over the course of the five days of ARCOmadrid.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
(Part 1) In pictures: Fifth March Meeting, 17–19 March 2012, Sharjah, United Arab Emirates
Sun, Mar 25 2012
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 on 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.
More images of the fifth March Meeting and other related events on our Flickr.
More images of the fifth March Meeting and other related events on our Flickr.
Arrival day – Tour to the Barjeel Art Foundation (collection of Sultan Bin Sooud Al-Qassemi) and the Maraya Art Centre, Al Qasba.
The 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 Tarek 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 performance "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 the 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 structure 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 compiles 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.)
holds a map of the area where Kalba's future art centre 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.
All photos: Latitudes | www.lttds.org (except where noted otherwise in the photo caption)
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