Latitudes

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

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

Installation view of 'Modelling Standard' at Galeria Joan Prats, Barcelona. JorgeSatorre and Erick Beltrán (Illustrationsby Jorge Aviña), “ModellingStandard”, 2010. 58photocopies pasted on the wall. Variabledimensions. Courtesyof the artists.

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

– PARTI –

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

JorgeSatorre (JS): Atthe core of ModellingStandardis our interest in the methodology proposed by Italian microhistoryduring the seventies as well as its precedents. Specifically, theessay of Carlo Ginzburg ‘Clues: Roots of an Evidential Paradigm’,which was published in 1979, functioned as one of the main pillars ofour project. In the text, he tried to explain a new way of makinghistory in which there are three basic methods to follow: first,reducing scale; second, in-depth investigations of the few sources athand; and third, exploitation of hints and traces – working like adetective.^[2]Ginzburg supported his theory by alluding to the fathers of thisparadigm: Sigmund Freud, Arthur Conan Doyle and Giovanni Morelli.These three people worked in very different fields, though theyshared a medical background and operated in the manner of adetective: deciphering clues through symptoms and finding hiddenmeaning in details. From this trigger Erick and I started opening upa web of relations.

L:It is now a fascinatingly complex project which involves a whole hostof characters and has evolved through an exhibition at FormContent inLondon in 2010, and a comic book which you produced for Casa Vecinain Mexico City earlier this year. Integral to the project are theamazing drawings of Jorge Aviña, who we’ll come onto specificallyin a moment, which you commissioned as illustrations of certainconcepts. But asCharles Fort said, ‘one measures a circle, beginning anywhere’...so, let’s pick one drawing and one character – VilayanurRamachandran?

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

ErickBeltrán (EB):Ramachandran represents a really curious phenomena that gets furtherexplored in the comic – the analyses of the phantom limb and mirrorneurons. He found out that there are cells in the brain that possessa representative image of our body. If those cells are electricallystimulated, one starts to feel different parts of the body. ViaWilder Penfield’s understanding of the part of the brain called thecortical homunculus, neuroscientists concluded that thisrepresentation is distorted, it’s not to scale with how the bodyreally is. Some parts have more sensory neurons than others, hencethey appear bigger in the brain’s body image: for instance thehands of ‘Penfield’s homunculus’ are too big and the torso isway too small.

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

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

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

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

JS:The whole project has also set out a new problem for us: we beganwith the analysis of microhistory,yet as we mentioned before, now we realise this has evolved intoconsidering the power of images. All the characters somehow tacklethis problem in one way or another, and with the comic we created adetective story where the characters are victims and perpetratorsaround a crime related to images.Ithas been a ping-pong of ideas between us, but we have also let chancebe a part of the process. We have had to confront our decisions andintegrate characters. Jorge Aviña is the illustrator who, as yousaid, has produced all the drawings for the project, and we realisedthat he had a lot to do with Fantomas, a fictional character in aMexican comic series of the 1960s, based on the French characterFantômas. One of the writers of Fantomas,Gonzalo Martré, who is now 84, becomes the criminal in our comic andalso is the cowriter of ElHallazgo del Miembro Fantasma.

EB: Bythen we had realised we had gathered a sort of ‘dream team’ ofwhat Fantomas could represent today.

JorgeSatorre and Erick Beltrán (Illustrationsby Jorge Aviña), “ModellingStandard”, 2010.
58photocopies pasted on the wall. Variabledimensions. Courtesyof the artists.

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

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

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

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

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

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

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

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

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

Se empiezan a pintar los cristales del Canòdrom...

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

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

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

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

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

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

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

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

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

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

Fotos: Latitudes | www.lttds.org

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

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

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

Follow the programme on Twitter: #NLassembly

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

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

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

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

[UK]

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

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

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

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

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

[ES]

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

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

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

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

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

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

'The Dutch Assembly' programme details for ARCOmadrid 2012

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

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

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

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

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

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

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

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

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

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

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

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

Follow 'The Dutch Assembly' on Twitter: #NLassembly

Newsletter #40 – January / enero 2012

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

Newsletter en Español | Newsletter in English

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

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

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

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For more info go to:

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/

http://issuu.com/latitudes/docs

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

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

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

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

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

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

Further publication details:  

Title | Título  
'Amikejo'  

Editor | Edita  
Latitudes  

Publisher & Distributor | Publica y distribuye 
Mousse Publishing and MUSAC  

Format | Formato  
22,5x15,5cm, 200 pp., hardcover 

 Language | Idiomas  
English/Spanish  

Editorial Coordination | Coordinación editorial 
Latitudes and Carlos Ordás 

 Production | Producción 
Bruna Roccasalva

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

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

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

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

Distribution | Distribución 
Mousse Publishing   

Printing and binding | Impresión y encuadernación 
Grafiche Artigianelli, Brescia   

Print-run | Tiraje 
1,200 copies 

 ISBN 
09585874857

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

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

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

Proyectos de Creación:

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

Proyectos de Investigación:

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

Proyectos de educación:

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

Proyectos de edición:

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

Tutorial:

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

Newsletter #39 – December / diciembre 2011

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

Newsletter en Español | Newsletter in English

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

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

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

RECENT BLOG POSTS...

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

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For more info go to:

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/

http://issuu.com/latitudes/docs

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

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

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

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

MACBA y Fundación Han Nefkens anuncian premio de arte contemporáneo

2011-11-28T15:37:00.001+01:00

Bartomeu Marí (izq) y Han Nefkens (dcha) presentan a los medios el Premio Fundación Han Nefkens MACBA de arte contemporáneo.

Bartomeu Marí (Director, MACBA) y Han Nefkens (escritor, coleccionista y fundador de la Fundació Han Nefkens) han anunciado esta mañana la instauración del Premio Fundación Han Nefkens MACBA de arte contemporáneo, "dirigido a artistas no consagrados pero con una trayectoria prometedora" de países no occidentales, "sin restricciones de edad, nacionalidad o género". El premio tiene "el objetivo de consolidar Barcelona como capital del arte contemporáneo", una ciudad que, como ha dicho Nefkens "tiene arroz negro, el Liceu, cielos azules en enero y calles como Joaquín Costa que son un poco como mi vida, de todas partes del mundo". Nefkens ha añadido que le apasiona descubrir artistas, hacer de enlace entre el público y el artista y entre los mismos artistas, como si fuese una Celestina.

El primer premio se anunciará el próximo 28 Noviembre del 2012, coincidiendo con el 17º aniversario del MACBA. El premio, de carácter bienal, está dotado con 50.000 euros (20.000 euros en concepto de honorarios y 30.000 euros destinados a producción). El proyecto resultante se presentará en algun espacio de la ciudad condal ("extra muros de el MACBA", según palabras de Marí), dependiendo de las características del proyecto y se producirá en colaboración con MACBA/Fundación Han Nefkens. El ganador dispondrá de un año para desarrollar el proyecto, que se presentará a lo largo del 2013.

La selección de artistas se realizará exclusivamente a través de las propuestas presentadas por diez 'scouts' (profesionales del mundo del arte residentes en los cinco continentes), cada uno de los cuales propondrá a tres artistas de su zona geográfica a los cinco miembros del jurado. Éstos seleccionarán 5 finalistas de entre las 30 candidaturas presentadas. El jurado de la primera edición está compuesto por Iwona Blazwick (Directora Whitechapel, Londres), Adriano Pedrosa (Comisario independiente, escritor y editor, São Paulo), Christine Tohmé (Fundadora de Askal Alwan, Asociación Libanesa de Artes Plásticas, Beirut), Han Nefkens y Bartomeu Marí (los tres primeros se renovarán en cada edición).

Foto: Latitudes | www.lttds.org

Latitudes invited to curate the presentation of Dutch institutions in ARCOmadrid 2012

2011-11-17T17:00:00.000+01:00

The Netherlands is the guest 'Focus' country of ARCOmadrid 2012, 15–19 February 2012. Within this context, Latitudes has been invited to curate the representation of Dutch art institutions. Hosted within a specially-commissioned structure in Hall 10, 'The Dutch Assembly'/ 'Asamblea de los Países Bajos' will consist of the accumulation of hourly talks, readings, statements, performances and screenings from approximately thirty art spaces, research initiatives and individuals which will form a series of documented 'depositions' and analyses of cultural practice and policy from the Dutch perspective, as well as reflections of the artistic links between Spain and the Netherlands.

Follow #NLAssembly on Twitter for updates!

ARCOmadrid 2012
15–19 February 2012
Halls 8 and 10 Feria de Madrid

Photo: Latitudes, 2010 | www.lttds.org

Erick Beltrán and Jorge Satorre's 'Modelling Standard' evolving project and forthcoming interview with the artists for 'Atlántica' magazine

2011-11-15T12:00:00.000+01:00

Invitation card to the exhibition at Galeria Joan Prats.

Opening: 17 November 2011, 19.30h (the artist will do a talk at 20h)

Exhibition organised by: Jorge Satorre and Erick Beltrán

With works by: Christoph Keller, Raphaël Zarka, Paloma Polo, Bernardo Ortiz,
Efrén Álvarez, Meris Angioletti, Jose Antonio Vega Macotela, Vilayanur Ramachandran,
Jorge Aviña and Florian Göttke.

The presentation at Galeria Joan Prats is the third iteration of the project which began in September 2010 at FormContent, London and continued in March 2011 at Casa Vecina, México DF.

"Modelling Standard takes as a point of departure the radical historiographic turn introduced by Carlo Ginzburg in the 1970s who focused on localised, popular and disregarded micro-histories rather than universal, over-arching versions. The title Modelling Standard references the scientific concept of the Standard Model used in physics to explain the almost invisible interactions occurring between subatomic particles.

Erick Beltrán and Jorge Satorre use both micro-historical methods and the metaphor borrowed from physics to create connections between small, insignificant hints and traces. These are taken from their heterogeneous references to build seemingly unlikely connections between literary references, personal experiences, historical data, trivia and scientific facts through the construction of a diagram. The result is a series of caricatures and texts through which the artists will construct a detective plot where Sigmund Freud, Carlo Ginzburg, Giovanni Morelli, Aby Warburg, Sir Arthur Conan Doyle, Joe Orton are the protagonists." (taken from FormContent's press release)

In Casa Vecina, Modelling Standard expanded with the inclusion of a comic also with drawings by illustrator and project collaborator Jorge Aviña, which will also be presented in Galeria Joan Prats alongside, as the artists have stated, the "input from a number of artists, illustrators and guest researchers, whose personal research work adds new links to the chain that stretches and lengthens ... like the devil's drool".

Installation process of the exhibition. Photo taken the day we began the interview for 'Atlántica' magazine.

In relation to 'Modelling Standard' Latitudes is currently working on an interview with Satorre and Beltrán for the Spanish magazine 'Atlántica' (to be published in February 2012), where there will be an opportunity to read more about their thread of ideas for this project as well as the process of their collaborative work – the latter being one of the focus of Latitudes' interests developed in exhibition projects such as 'Amikejo' (four exhibitions at MUSAC, León, 2011) or 'The Garden of Forking Paths' (Maisterravalbuena, Madrid, 2009). More news to follow...

–

Portscapes: Jorge Satorre returns an ice-age boulder back to Sweden (18 January 2010)

‘Provenances: Erick Beltrán, Simon Fujiwara & Jordi Mitjà’, Umberto di Marino Arte Contemporaneo, Naples, Italy, 14 May–14 September 2009

Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid (29 Marzo 2011)

'Banquete sinestésico' de Erick Beltrán en Halfhouse (30 octubre 2011)

Galeria Joan Prats

Rambla de Catalunya, 54

08007 Barcelona, Spain

www.galeriajoanprats.com

NoguerasBlanchard announces "Curatorial Open Call 2012" – deadline 31 December 2011

2011-11-07T16:56:00.001+01:00

View of the gallery space. Courtesy NoguerasBlanchard.

NoguerasBlanchard is pleased to announce a Curatorial Open Call 2012, which invites individuals or collectives to submit a proposal for curating an exhibition at NoguerasBlanchard in Barcelona. The successful proposal will take place between June and July of 2012.

For four years now NoguerasBlanchard’s exhibition program has included in the month of June an exhibition proposal by a guest curator. In order to continue this line, to expand artistic horizons and provide a platform for curatorial practice and the making of group exhibitions, we launch our Curatorial Open Call 2012.

The selected curator/s will receive a maximum of €4.000 in concept of honorarium and exhibition production budget. NoguerasBlanchard will provide administrative and production support, design and mailing of the press release/invitation card and an opening reception. The curator/curatorial collective must be in Barcelona for the setting up and the opening evening.

Application criteria
The proposal should:
- Be thought taking in consideration NoguerasBlanchard exhibition space (see floorplan below)
- Have an international interest
- Show financial feasibility
We encourage proposals to challenge curatorial and gallery practices.

Application procedures
The decision will be made public on NoguerasBlanchard website and by mail, before February 1st, 2012
The jury will consist of 4 curators/curatorial group that have previously carried out group shows in the gallery:
Latitudes (Max Andrews and Mariana Cánepa Luna), independent curatorial practice. Extraordinary Rendition, exhibited in 2007;
Jacqueline Uhlmann, independent curator. Shining by Absence, exhibited in 2009;
Juan Canela, independent curator. Ref 08001, exhibited in 2010;
Direlia Lazo, independent curator. Somewhere Else, exhibited in 2011.

The submission should include:
- A short biography or curriculum vitae (1 page), and contact address of the curator/s.
- An exhibition/project outline explaining the purpose and concept (600 words maximum)
- Initial list of artists and a succinct description of their practice and recent exhibitions (100 words maximum)
- Images of the works to be included with suitable captions.
- Detailed production budget that must include:

Proposed curatorial fee / expenses derived from curators attendance to requested events
Return transports and insurance
Eventual production of new works
Eventual architectural adaptation of gallery space (see map below)

Application deadline: December 31, 2011

Please submit your applications exclusively in English, in a pdf file up to 3MB, to: info@noguerasblanchard.com

Please write ‘NoguerasBlanchard Curatorial Open Call’ in the subject line. You will receive an email confirming the reception of your proposal. For more information please contact Zaida Trallero at zaida@noguerasblanchard.com

Information about NoguerasBlanchard
NoguerasBlanchard opened in June 2004 and is located next to Las Ramblas in the historic, multi-ethnic, Raval neighbourhood, in Barcelona. In this context we are strongly committed to developing an exhibition programme with emerging international artists whose work shows strong conceptual concerns and participates in the dialogue between art and broader currents in contemporary society.

The gallery's main goal is to engage in a long-term commitment with the careers of its artists and to be highly involved in the production of works. We are assisting with proposals, raising funds to produce films, biennial projects or catalogues while working in close alliance with international galleries and institutions, generating from co-productions to traveling exhibitions.
NoguerasBlanchard's participation in international fairs is essential for the promotion of our artists world-wide, while enabling us locally to maintain a lively and stimulating environment for art production and exchange.

Map of NoguerasBlanchard

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

Newsletter #38: November/noviembre 2011

2011-11-04T15:23:00.000+01:00

Newsletter en Español | Newsletter in English

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

Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their collaborative working process (in Spanish).

Follow #amikejo

RECENT BLOG POSTS...

'Banquete sinestésico' de Erick Beltrán en Halfhouse (30 October); Update: Contents of the forthcoming publication 'Amikejo' (24 October); Details of the forthcoming 'Amikejo' exhibition catalogue published by Mousse Publishing (6 October); Participación en el simposio 'Antimonumentos: Crítica en el Espacio Público', Espai d'Art Contemporani de Castelló, Sábado 22 Octubre 2011 (30 September)...

FROM THE ARCHIVE...

'Exposition Internationale des Art Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne', Meessen De Clercq, Brussels, Belgium, 25 February–16 April 2011. With the participation of Kasper Akhøj (1976, Copenhagen, Denmark. Lives in New York, US); Martí Anson (1967, Mataró, Spain. Lives there); Maria Loboda (1979, Kraków, Poland. Lives in London, UK); Charlotte Moth (1975, Carshalton, UK. Lives in Paris, France); Sarah Ortmeyer (1980, Frankfurt am Main, Germany. Lives there). See photos of the exhibition.

–

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/
http://issuu.com/latitudes/docs

'Banquete sinestésico' de Erick Beltrán en Halfhouse

2011-10-30T21:44:00.000+01:00

[Web de Halfhouse/La Estrategia Doméstica]:

Erick Beltrán realizará una cena-performance transformando con la ayuda de un chef el espacio Halfhouse en el comedor para un banquete, utilizando los platos como base de su discurso. La performance es un estudio del fenómeno de sinetésia como metáfora para la práctica de la traslación. Erick nos presentará una variedad de platos llevando al invitado a una exploración culinaria y histórica.

Beltrán ha realizado este tipo de evento analizando el concepto de sinestesia en dos ocasiones anteriores: la primera fue en la Kadist Art Foundation ('A dinner with...', 2008) y recientemente en Villa Arson (2010), en el contexto de la exposición 'Double Bind/Stop trying to understand me!'.

'Banquete sinestésico' tuvo lugar el 29 Octubre en Halfhouse, Barcelona:

3 mesas, 30+/- invitados.

Inspeccionando la cocina para obtener pistas acerca del misterioso menú...

Ingredientes revelatorios...

Nos dicen que el segundo plato está descansando...

más pistas... parece que en el medievo cuando no se tenía pescado a mano, se preparaba este plato a base de hígado

el tedioso trabajo de pelar huevos de codorniz

Primer plato casi listo...

Erick ultimando su presentación

Invitados empiezan a llegar y a degustar el aperitivo especial de la noche, el cocktail Snake in the grass

Empieza la cena-performance

Entrante: Aspic de huevo de gallina y huevo de codorniz, acompañada de anguilas y cilantro

Sigue la charla...

Presentación oficial del primer plato: codorniz dentro de una perdiz, dentro de una gallina de Guinea, dentro de un pato, dentro de un pavo, o algo así...el 'campo expandido' de una matrioska/Turducken. Se acompaña con una salsa de higos y/o garo

Por cierto exquisito...

Siguen los diagramas...los ourobouros...la patafísica...el yo y el super-yo...

Segundo plato: boquerones dentro de una lubina dentro de un bacalao

Sobre cómo leer el futuro observando las partes de un hígado...

Tercer plato: conejo con chocolate...

Sirviendo vino con hinojo como acompañante del postre (no comestible): música futurista

Muchos cocktail, muchas Estrella...

Apocalíptica cocina post-cena...

Erick Beltrán (México DF, 1974. Vive y trabaja entre Barcelona y México DF) estudió Artes Visuales en la Universidad Nacional de México (ENAP-UNAM), entre 1993 y 1997. Posteriormente, participó en residencias artísticas como ENSAD, París (2000-2001) y Rijksakademie, Amsterdam, (2002-2004). Ha realizado diversas exposiciones individuales incluyendo Enciclopedia, Galería OMR (Ciudad de México, 2005); Punchdrunk, SMAK (Gent, Bélgica, 2005); Analphabet, Stedelijk Museum Bureau (Amsterdam, 2005); Réplica (con Jorge Macchi), Muca Roma (Ciudad de México, 2004). Además, ha participado en exposiciones colectivas como la Bienal del Mercosur (Porto Alegre, 2005); Algunos libros de artistas, Proyectes SD (Barcelona, 2005); Prague Biennale 2 (Praga, 2005); Circuitos/Circuits, Matucana100 (Santiago de Chile, 2005), Bienal de Sao Paulo (2008), Manifesta 8 (Murcia, 2010) y más recientemente la actual 11ª Bienal de Lyon.

Fotos: Latitudes | www.lttds.org

Update: Contents of the forthcoming publication 'Amikejo' to be realised in January 2012 by Mousse Publishing

2011-10-24T18:31:00.003+02:00

Photo: Courtesy Musée de la Vallée de la Greule

As announced on our previous post, we are currently editing the forthcoming catalogue 'Amikejo', which concludes the exhibition cycle that has taken place at the Laboratorio 987 in MUSAC, León.

One of the main essays (aside that by Prof. Peter Osborne around the philosophical and the historical development of the 'project space' as a type of art space) is that by Prof. Ryszard Żelichowski, Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences, titled "NeutralMoresnet and Amikejo – The Forgotten Children of the Congress ofVienna", which narrates the story of the small state Neutral Moresnet which, in 1908 became the first Esperanto state and changed its name to 'Amikejo' ('a place of great friendship' in Esperanto).

Below an excerpt of what's to come...

UponNapoleon’s defeat in 1814, the victorious coalition faced the needto introduce a new order in Europe. European citizens could gainentirely new borders for the states they inhabited; first andforemost however, the coalition saw hope for the improvement of theterms of their nation’s existence. The Congress of Vienna had todeal with these challenges while reconciling the often contradictoryexpectations of both big and small states.One such challenge was posed by anarea of what had been the Aubel canton during the French Empire,which today is part of the Belgian municipality of Kelmis. Thisterritory – more precisely a small part of it – wedged betweenwhat is today Belgium and Germany enjoyed a certain amount ofindependence for over a century, and had many attributes of asovereign state: its own anthem, flag, currency, and postage stamps.This mini-state, Neutral Moresnet (1816–1919), has been mostlyforgotten by historiography,andalmost two hundred years since its creation, I would like tocommemorate the extraordinary fortune of this tiny piece of land atthe heart of Western Europe.

Title: 'Amikejo'
Edited by: Latitudes
Publisher & Distributor: Mousse Publishing and MUSAC
Format: 22,5x15,5cm, 200 pp, hardcover
Language: English/Spanish
Print run: 1,200
Date of publication: January 2012

Followthe project on Latitudes' Twitter #Amikejo

Details of the forthcoming 'Amikejo' exhibition catalogue published by Mousse Publishing

2011-10-06T10:00:00.000+02:00

Poster of the exhibition cycle. Designed by Latitudes.

We are now editing the 'Amikejo' final publication to be released by Mousse Publishing in January 2012. The c. 200 page publication will include essays by:

Peter Osborne (Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy at Kingston University London);
Ryszard Żelichowski (Professor and Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences);
Theo Beckers (Former Professor of Leisure Studies at Tilburg University and currently faculty member of the Tilburg Sustainability Center and Visiting Professor of the Chinese Academy of Sciences);
Prof. Dr. Menno Schilthuizen (Research scientist at NCB Naturalis, an endowed chair for Insect Biodiversity at the University of Groningen and an Associate Professorship at Leiden University)

amongst others, as well as texts on each exhibition by Latitudes.

In the meantime some images of the exhibitions on Latitudes' flickr, including the final exhibition 'Amikejo: Fermín Jiménez Landa & Lee Welch', on view at the Laboratorio 987, MUSAC, until 15 January 2012.

More soon!

Newsletter #37 - October/octubre 2011

2011-10-03T10:00:00.000+02:00

Newsletter en Español | Newsletter in English

THIS MONTH...

Participation in the symposia 'Antimonuments: Critique of Public Space', Espai d'Art Contemporani de Castelló, Saturday 22 October 2011. Coordinated by Ángela Molina and with the participation of Iria Candela (Assistant Curator, Tate Modern, London), Patricia Esquivias (artist, Madrid), Latitudes (independent curators, Barcelona) and Racons Públics (curator/architect, Barcelona).

Follow #amikejo

FROM THE ARCHIVE...

Coinciding with the first anniversary of the beginning of 'The Last Newspaper' exhibition at the New Museum (6 October 2010–9 January 2011), readers are now be able to flick through the pages of the exhibition catalogue via Issuu: #0 Contents + Index; #1 The Last Post; #2 The Last Gazette; #3 The Last Register; #4 The Last Star-Ledger; #5 The Last Monitor; #6 The Last Observer; #7 The Last Evening Sun; #8 The Last Journal; #9 The Last Times; #10 The Last Express.

Read the first issue 'The Last Post':

Open publication - Free publishing - More last newspaper

...The rest (#2 to 10 plus #0 with Contents+Index) now available on Issuu!

–

www.youtube.com/LatitudesVideos

www.flickr.com/photos/lttds/

Participación en el simposio 'Antimonumentos: Crítica en el Espacio Público', Espai d'Art Contemporani de Castelló, Sábado 22 Octubre 2011

2011-09-30T09:00:00.000+02:00

Programa simposio:

10.30 h:

Ángela Molina Climent, Organizadora del simposio: 'ANTIMONUMENTOS: CRÍTICA EN EL ESPACIO PÚBLICO'

Másallá de su papel como sitey depósito de obras de arte, el museo como instrumento cultural –quese ha ido desarrollando paralelamente a la museización de la propiacultura– es una institución normalizadora y disciplinaria. Comorepositorios de objetos del pasado, los museos dan sentido a lahistoria, pero también construyen activamente las relaciones entrela producción de la subjetividad y la producción de objetosmateriales. Durante los últimos años, con la tendencia a fusionarlos lugares de producción y exhibición (lugaresdiscursivos),todo el aparato institucional que rodea a la obra participa en lacreación de nuevos valores y significados estéticos. El activismo yel arte han transformado sus estrategias para producirgrupos de artivistasfavorablesa una concepción educativa y participativa de la institución. Eneste simposio, artistas, comisarios, historiadores y urbanistashablarán de la necesidad de una crítica independiente desde elespacio público, con el fin de perturbar una cultura dominante quedepende de un sistema de valores y líneas de autoridad aparentementeincólumes.

ÁngelaMolina Climent es Licenciadaen Filología Española y doctora en Teoría de la Literatura yLiteratura Comparada por la Universitat Autònoma de Barcelona (UAB),ejerció la crítica de arte en el suplemento de cultura del diarioABChasta 2000. Desde 2001 colabora en las secciones de arte y literaturade los suplementos culturales Babeliay Quadern(ElPaís), y en publicaciones especializadas (LARS, Revista de Libros). Hadirigido la revista de arte y pensamiento Art&Co,y es especialista en teoría feminista y estudios de género. Editoradel libro LosLugares de la Crítica(Ed. Universidad Pública de Navarra, 2011) y autora de Lamáquina de las solterasde próxima publicación (Ed. Periférica).

11 h:

Iria Candela: 'LATINOAMÉRICA:LA CALLE COMO EXPERIMENTO'

El arte en Latinoamérica de las dosúltimas dos décadas viene ensayando formas de intervenciónpoético-políticas en la ciudad que difieren de las prácticassubversivas y anti-institucionales de las dos décadas anteriores,caracterizadas por el represivo contexto de las dictaduras. Estasnuevas formas se insertan en los diversos procesos de democratizacióny desdemocratización que experimenta el continente, cuestionandociertos modelos culturales de la globalización y apuntando nuevosdesafíos en el interfaz entre estética y política. Se discutiránalgunos ejemplos destacados, como las intervenciones recientes deHéctor Zamora en Bogotá o Regina José Galindo en Guatemala.

Iria Candela escuradora adjunta en la Tate Modern de Londres desde 2009, donde hatrabajado en exposiciones de artistas como Theo van Doesburg, GabrielOrozco, Alejandro Cesarco y, actualmente, Tacita Dean y RoyLichtenstein, entre otros. Es doctora en Historia del Arte por laUniversidadAutónoma de Madrid y máster en Arte Moderno por Columbia Universityde Nueva York.Autora de los libros Sombrasde Ciudad. Arte y transformación urbana en Nueva York1970-1990 (Alianza,2007) y JoanMiró(Tate, 2011), ha realizado la edición crítica del catálogoFrancescTorres. Da Capo(Macba, 2009). Haescrito sobre arte para publicaciones como TheBurlington Magazine, Lápiz,Tate EtcyEl País,y ha impartido ponencias en las universidades de Harvard,Oxford y Sorbonne. Miembro del Comité de AdquisicionesLatinoamericanas de la colección de la Tate, actualmente ultima lapublicación de un libro sobre arte contemporáneo en AméricaLatina.

12.30 h:
PatriciaEsquivias: 'LIEBEFRAU'
PatriciaEsquivias observa Castellón a la distancia y reflexionará en tornoa su identidad geográfica. Compuesto de pequeños monólogosdirigidos a una señora alemana, que ocupa en la obra el papel decensora, LiebeFrauexpone los problemas que supone hablar de realidades estrambóticas.Al igual que en otros trabajos de la serie Folklore(videos seudoeducativos sobre España), la artista elaboraráexquisitas asociaciones entrelazando referencias personales,cotidianas e históricas. En LiebeFrau, Esquiviasllevará un paso más allá la naturaleza subjetiva de su trabajo, ypondrá en evidencia la limitación del lenguaje para explicarciertas idiosincracias.

PatriciaEsquivias nacióen Caracas y creció en Madrid. Estudió arte en Londres y SanFrancisco. En Madrid trabajó junto con Manuela Moscoso en laprogramación de los29enchufes. Desde el 2005 trabaja en videoy ha expuesto sus trabajos entre otros en Madrid (Museo NacionalReina Sofía, Galería Maisterravalbuena, Centro de Arte Dos deMayo), Alemania (Frankfurter Kunstverein, 5th Berlin Biennale), NuevaYork (White Columns, Murray Guy, New Museum), Italia (Arcos Museum,Artissima) y en Inglaterra (East International, Royal College ofArt). Actualmente disfruta de una beca en la Akademie SchlossSolitude en Stuttgart.

[Pausa almuerzo]

16h:

Latitudes (Max Andrews and Mariana Cánepa Luna): 'PORTSCAPES:ITINERARIOS Y DESTINACIONES EN EL PUERTO DE RÓTERDAM'

'Making of' de Jan Dibbets '6 hours tide object with correction of perspective' (2009).

Conla participación de diez artistas de diversos países (Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, FuckingGood Art, Ilana Halperin, Roman Keller and Christina Hemauer,Paulien Oltheten, Jorge Satorre y Hans Schabus (web: Maria Barnas(poesía) y Markus Miessen (entrevistas)), el proyecto Portscapesexaminó las implicaciones físicas y conceptuales de los nuevoshorizontes del Maasvlakte 2, la extensión de la zona portuaria eindustrial de Róterdam, la más extensa de Europa, que entre el 2008y 2013 robará 2.000 hectáreas de terreno al mar. Portscapes giró entorno al leitmotifitinerarios y destinaciones, creando proyectos de escala ytemporalidad variable (performances,excursiones, esculturas efímeras y proyecciones), con la intenciónde desarrollarse como una guía de la zona portuaria que se extiendea lo largo 40 kilómetros. Enel simposio se analizarán cuatro proyectos de Portscapes,los realizados por Jan Dibbets, Jorge Satorre, Lara Almarcegui y Cyprien Gaillard (no realizado), y se pondrá en cuestión la nociónde anti-monumento y específicamente las negociaciones yretos que se plantearon a nivel artístico y curatorial.

Latitudeses una oficina curatorial independiente dirigida por Max Andrews yMariana Cánepa Luna, fundada en el 2005 y con sede en Barcelona. Enel 2009 comisariaron Portscapes,una serie de diez proyectos públicos en el Puerto de Róterdamproducidos en el contexto de la expansión del puerto, la zonaportuaria e industrial más extensa de Europa. Latitudes haparticipado en el festival de organizaciones independientes NOSOUL FOR SALE(X Initiative, Nueva York, 2009 y Tate Modern, Londres, 2010); fueorganización asociada en la exposición The Last Newspaper,New Museum, Nueva York (2010–11) para la que publicó un periódicosemanal durante la exposición. Durante la temporada 2011 hacomisariado el ciclo Amikejoen el Laboratorio 987, MUSAC, León.

17.15 h:
Racons Públics (Sara Dauge y Alejandro Giménez): "ARTE Y MICROCIRUGÍA URBANA"

Laconstante transformación de nuestras ciudades deja atrás espaciosresiduales, huecos y rincones. En el paisaje urbano actual, esosrincones ponen de manifiesto la falta de atención al detalle en elacelerado proceso de desarrollo que transforma nuestras ciudades. Sonproblemas de pequeña escala que quedan enquistados en losintersticios de la gran metrópoli: roces entre tejidos, en losperímetros y en el contacto con las infraestructuras, lasdificultades de adaptación al relieve, las discontinuidades en lastramas, la desertización de la ciudad abierta, los monocultivosfuncionales, las medianeras desnudas como evidencia de los conflictosinternos de los crecimientos compactos, los cambios normativos, lasimprecisiones del planeamiento, la desafección del promotor privadoy la falta de recursos materiales o técnicos. Elconcurso de participación ciudadana en el diseño de la ciudadRaconsPúblicses una iniciativa que plantea la recuperación y dinamización delugares degradados, olvidados o desaprovechados, para su uso público.Sus objetivos son abrir la disciplina urbanística aotras áreas del conocimiento, de las ciencias y de las artes altiempo que se recuperan ocho enclaves significativos de la ciudad deCastellón.

Sara Dauge es historiadora urbana. Estudió en la Universidad de París Panthéon Sorbonne. En su doctorado investigó las formas de sociabilidad en Barcelona desde 1833 hasta 1844. Se dedicó a la investigación histórica y urbana dentro del despacho de arquitectura, urbanismo y paisaje de Beth Gali, Barcelona. Fue comisaria de la exposición Urbanismo y ocio en la Barcelona de 1850, casa Elizalde, Barcelona 1999. Desde1998 en colaboración con Alejandro Giménez se dedica al comisariadoy coordinación del concursodeparticipación ciudadana RaconsPúblics,organizado en Barcelona en 2004 y 2010 porelFAD (Foment de les arts i del disseny) y con el apoyo delAyuntamiento de Barcelona. Desde2006 es secretaria ponente de la comisión de esculturas delAyuntamiento de Barcelona,encargadade establecer un diálogo entre el arte contemporáneo y el espaciopúblico.

AlejandroGiménez esarquitecto por la Escuela Técnica Superior de Arquitectura deBarcelona, donde es profesor en el Departamento de Urbanística yOrdenación del Territorio desde 1998. Esprofesor en la Universidad de Salamanca, máster de Diseño deInteriores, desde 2004y profesoren la Universidad Pompeu Fabra, máster de Nuevos FormatosExpositivos. Hacolaborado con arquitectos de Barcelona: Beth Galí, EnricMiralles, Oriol Bohigas, y otros. Desde 1998 forma estudiopropio, con proyectos de espacio público para el centro deDublín, edificación y rehabilitación en Barcelona y otraspoblaciones catalanas. Escomisario y coordinador del concurso RaconsPúblicsde participación ciudadana en el diseño urbano.

18.30h:
MESAREDONDACONLA PARTICIPACIÓN DE TODOS LOS PONENTES

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Opening performance: 'Himno Nacional' (2011) by Fermín Jiménez Landa & Lee Welch in the context of their exhibition 'Amikejo' at the Laboratorio 987, MUSAC

2011-09-26T22:00:00.000+02:00

'Himno Nacional' (National Anthem, 2011)
A project by Fermín Jiménez Landa & Lee Welch
24 September 2011 at 13:30h (centre of León) and 19.30h (MUSAC)
In the context of 'Amikejo' exhibition cycle at the Laboratorio 987, MUSAC

Photos: Latitudes | www.lttds.org

"In the context of 'Amikejo' – an exhibition cycle on micro-nations, historical anomalies, common endeavours and optimism – a León marching band has been invited to compose a new national anthem. Composed in the most archaic tradition, markedly romantic, military and patriotic, the anthem enacts a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

Forming a journey loop from León to the island and back again, the musical representation of nationhood becomes an end in itself. During the exhibition opening, the 65+ musicians of the Agrupación Musical La Cena paraded through the streets of León (Plaza San Marcelo, Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (in front of the cathedral); and Palacio de Botines) in what could be seen as a playful, ceremonial or military action, and perform an anthem that is familiar in its musical idiom and yet is completely unidentifiable". – Fermín Jiménez Landa

Anthem composed by: Juan Ramón Solla Santos, musical director, Agrupación Musical La Cena, León.

A report in quotations of 'Talking Galleries', 19–21 September 2011, MACBA auditorium

2011-09-20T15:04:00.001+02:00

A report in quotations from the first evening's two panels and the first session of the second day of Talking Galleries.

19 September 2011
15.30h: Welcome by
Ferran Mascarell, Regional Minister of Culture of the Generalitat
Jaume Ciurana, Deputy Mayor of Culture, Knowledge, Creativity and Innovation of Barcelona
Faustino Diaz Fortuny, Deputy Director General for the Promotion of Cultural Industries and Foundations and Patronage of the Ministry of Culture
Adriaan Raemdonck, President of FEAGA (Federation of European Art Galleries Association)
Llucià Homs, main promoter of the project TALKING GALLERIES
Bartomeu Marí, MACBA's Director

Llucià Homs: "according to an art market report commissioned by TEFAF (The European Fine Art Foundation), 51% of the art business is done by gallerists and 49% by auction houses. 30% of that is done in art fairs."

Faustino Diaz: "Galeries are the basis for the construction of value". "Galleries are a fundamental cultural sector for the economic development of knowledge".

Mascarell: "Talking Galleries should connect Catalan art to the international trends and vice-versa". "Artists are the ones making sense of our world".

16.00 h: 'The new role of the Gallerist in the art market' with:
Casey Kaplan, Casey Kaplan Gallery (New York)
Claes Nordenhake, Galerie Nordenhake (Berlín, Stockholm)
Emilio Álvarez, Galeria Àngels Barcelona (Barcelona)
Moderated by: Ann Demeester, Director of De Appel Arts Centre (Amsterdam)

Ann Demeester: "We are not able to project a 20-50 year future anymore"..."are galleries going to become agencies for artists or are they able to foster new experiments in a globalised 21st century?"; "Collaboration should not be an emeny of competition"; "Galleries are a site for free education"; "A gallery should perform an informal efficiency"

Emilio Álvarez: "The work of a gallery is articulated in connection with the past. Memory gives meaning, one constructs value through time". "Circuits of the artworld are closed, although the product we present is open."; "A gallery has a ongoing relationship with an artist and shows him/her continuously over time, no institution will give a solo show to an an artists 3 times"; "A gallery has a single monogamous relationship, museums have plural relationships with artists."

Casey Kaplan: We (with David Zwirner and Friedrich Petzel amongst others) have done New York Gallery Week (NYGW) twice now, but I don't think is necessary to repeat it again and again if, for instance, Frieze New York is starting in May 2012" ; "We are taking the risks, we produce art, we research artists, basically we do it first and then everyone follows";"A gallery is about trust in your artists and them in you. Is a small family extension that grows organically. It's also about constant reinvestment in a new space, in a new piece in shipping ridiculous works to art fair to show your ambition."

Claes Nordenhake: "New art should be shown in galleries first, thereafter in artfairs, kunsthalles, etc. Not the other way around!"; "A gallerist is an eternal improvisor, a cleaner, a guard, an interior designer, a carpenter, a shipping agent, a graphic designer, a bookeeper, an art historian, a teacher and sometimes a professor, a therapist, a pimp and sometimes the lover, a storage administrator, a divorce councellor, a good banker, a sympathetic drinking companion, an arrogant bastard, an interpreter, a travel agent, a cook (professional or amateur), a waiter, a restaurateur, a philosopher (or at least in late hours of the night...), an actor, a business strategist, a secretary (where the boss is the artist)...

18.00 h: 'Dealing with the economic crisis' with
Georgina Adam, Journalist Financial Times (London)
Robert Tornabell, Professor of Economics at ESADE Business School (Barcelona)
Soledad Lorenzo, Galería Soledad Lorenzo (Madrid)
Moderated by: Carlos Urroz, Director ARCOmadrid (Madrid)

Dr. Robert Tornabell: "The most profitable investments are first art, then gold, and then...I don't know!"

Georgina Adam: "The size of the market is U$ 43 billion: 21 bn in auction, 22 bn in dealership. The global share in 2006 breaks up in 46% for the US; 27% for UK, 6% for France; 5% for China, 16% Others. In 2010 is 34% for the US; 22% for UK, 5% for France, a huge increase to 23% for China and, 15% Others". "Today, there are 20 top auction houses, 11 of which are chinese, which did not exist a decade ago"; "Today money is not inherited, it is made"

20 September 2011
10.00 h: 'The future of art fairs' with
Victor Gisler, Mai 36 Galerie (Zurich)
Noah Horowitz, Director VIP Art Fair (New York)
Pierre Huber, Galerie Art & Public (Geneva)
Moderated by: Carles Guerra, Chief Curator of the MACBA (Barcelona)

Carles Guerra: "Barcelona was considering initiating a fair, but with ARCOmadrid nearby and seeing how profits stand now, maybe a meeting amongst professionals such as this, is the way forward"

Noah Horowitz: "The 1970s market was trade; today it's retail and event-led" ; "Going back to TEFAF's figures: 30% of the business is done in fairs, that's obviously an average figure because for some galleries fairs are 70% of their year sales"; "The VIP Art Fair is accessible, international, transparent, communicative, it is still a one-to-one relationship with the buyer"

Victor Gisler: "A gallery shows – tells – sells". "Art fairs like Art Basel have become so hugely important that they now validate quality. If an artits hasn't been shown in Basel, it may seem not valuable". "Initiatives like the VIP Art Fair are great for telling, maybe not so much for selling, but it is online, and that is the language of the next generation which you can not neglect, and one must embrace"

Biographies of the speakers
More about Talking Galleries.
Follow #talkinggalleries

Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme

2011-09-14T15:36:00.000+02:00

http://www.landartcontemporary.nl/ website

Land Art Contemporary year-long initiative showcases works of art located in the countryside of Drenthe, a province in the northeastern Netherlands, which will be complemented with an international events programme dealing with the contemporary aspects of Land art. Starting on 17 September 2011, the programme is linked to the 40th anniversary of the creation of Robert Smithson's film Broken Circle/Spiral Hill in Emmen for the exhibition Sonsbeek 1971.

Coinciding with the anniversary, Land Art Contemporary kicks off with the exhibition 'Robert Smithson – Broken Circle/Spiral Hill Revisited', at the Centre for Visual Arts (CBK) in Emmen. The exhibition's star piece will be the recently completed film 'Breaking Ground: Broken Circle/Spiral Hill' (1971–2011), uncompleted due to Smithson's untimely death in 1973, which is now finally produced, following his instructions for direction and editing, by his widow Nancy Holt in collaboration with SKOR. The film will also be screened once on 22 September at the Stedelijk Museum Amsterdam. Holt will introduce the video.

Parallel to this major exhibition, SKOR is also organising The Ultraperiferic (17 September – 27 November 2011), an exhibition that will feature the work of Lara Almarcegui (ES/NL), Jorge Satorre (MX/NL) and Cyprien Gaillard (FR/DE), three artists with whom Latitudes has worked in the recent past and whose work will also be featured in Max Andrews' essay "'A Dark Spot of Exasperation: From Smithson to the Spime'" in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (ISBN 9789081531481) to be published by Alauda Publications in early 2012. The essay and The Ultraperiferic both feature Jorge Satorre's 'The erratic. Measuring compensation' (2009) which was produced in the context of 'Portscapes' and recently featured in his exhibition at Labor, Mexico City.

The project will continue in 2012–13, with a series of 'assignments' to contemporary artists "a number of artists will be set the assignment of creating a work in the spirit of Smithson, whereby the landscape is viewed as a continual process that is constantly in a state of transformation due to the interaction between man and nature", to be curated by SKOR's curators Nils van Beek and Theo Tegelaers. + info...

Land Art Contemporary is an initiative of STICHTING LACDA, Drenthe, a foundation established in 2011 by the Sanders-Ten Holte family. The program has been made possible thanks to (content and financial) support from SKOR | Foundation for Art and Public Domain, Province of Drenthe, European Agricultural Fund for Rural Development: Europe Investing in Rural Areas (LEADER), Municipality of Coevorden, Municipality of Emmen, Cultuurfonds BNG and the Sanders-Ten Holte family.

24 Septiembre, 19h: Inauguración última exposición del ciclo anual 'Amikejo' con Fermín Jiménez Landa & Lee Welch, Laboratorio 987, MUSAC, León. 19.30h: Performance 'Himno Nacional' de Jiménez Landa.

2011-09-12T10:43:00.000+02:00

El sábado 24 de Septiembre a las 19h inaugurará la última exposición del ciclo anual 'Amikejo' comisariada por Latitudes. La exposición presentará el trabajo de Fermín Jiménez Landa (1979, Pamplona) y Lee Welch (1975, Louiseville, EEUU) quienes no se conocían antes de que se les invitara a participar en el ciclo. Como si fuera una cuestión de diplomacia internacional, los artistas han tenido que entenderse mutuamente tanto en lo personal como en lo artístico antes de emitir una declaración conjunta, según lo acordado y negociado. Jiménez Landa y Welch han escogido establecer su colaboración en torno a la noción de “micro-nación” y los recursos que definen la soberanía: fronteras, sellos o himnos nacionales.

En MUSAC presentan un conjunto de elementos algunos de los cuales se advierten directamente en el Laboratorio 987, mientras que otros documentan fenómenos en lugares remotos, o existen únicamente en la imaginación. Una estructura similar a una plataforma, junto con esculturas que adoptan la forma de portales o hitos fronterizos, crea espacios y herramientas para el encuentro y el debate, además de albergar otras obras bidimensionales y de vídeo. + info...

Eventos inauguración:

Sábado 24 de septiembre, 13:30 h.

'Himno nacional', 2011

Duración aproximada: 60'

A menudo se dice que lo más relevante de un trabajo es el proceso. 'Himno Nacional' (2011) se incorpora y se desdobla en varios elementos, historias y anécdotas. Enmarcado en 'Amikejo', un proyecto expositivo entorno a micro-naciones, anomalías históricas, empresas en común y optimismo, se ha invitado a una popular banda de música de León a que componga un nuevo himno nacional realizado a la más arcaica de las maneras: con un sabor marcadamente romántico, militar y patriótico. El himno se presenta con un objetivo paródico y fútil: la conquista de una pequeña isla situada en el mar Egeo mediante la imposición sonora del himno.

Con un viaje de ida y vuelta, de León a la isla y de la isla a León, la representación musical se convierte en una celebración en sí misma. Durante la inauguración, 65 músicos de la banda desfilarán por las calles de León en lo que podría parecer ser una acción lúdica, conmemorativa o militar, tocando un himno que resulta reconocible en su lenguaje musical y, sin embargo, es totalmente irreconocible. – Fermín Jiménez Landa

La banda Agrupación Musical La Cena interpretará el nuevo himno nacional en cinco puntos del casco antiguo de León, entre los cuales se desplazará acompañándose únicamente con la sección de percusión. La banda iniciará su recorrido en la Plaza San Marcelo (13:30 h) prosiguiendo a la Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (frente a la catedral) y finalizará en la Plaza San Marcelo (frente al Palacio de Botines).

A las 19.30h volverán a interpretar el himno en el hall del MUSAC.

Stills video 'Himno Nacional. Conquista de una isla mediante la colocación de un equipo de sonido con un generador de energía limitada emitiendo un himno nacional compuesto por una banda musical de León. (2011) de Fermín Jiménez Landa. Cortesía del artista.

| UK |

The final exhibition of the year-long cycle 'Amikejo' will open on Saturday 24th, 19h, at the Laboratorio 987 space in MUSAC. The exhibition will show new works produced collaboratively by Fermín Jiménez Landa (Pamplona, Spain, 1979) & Lee Welch (Louisville, USA, 1975). Jiménez Landa and Welch did not know each other before the invitation to participate in Amikejo. As if engaged in international diplomacy, the artists have had to understand each other personally and artistically before issuing what might be regarded as a joint statement based on what they have agreed and negotiated, in the form of an exhibition. Jiménez Landa and Welch have chosen to establish their collaboration in relation to the notion of the micronation and devices which delineate sovereignty – borders, stamps, anthems, and so on.

Their works in MUSAC comprise a constellation of diverse performative, discursive, interactive and displayed elements, some of which are directly apparent in the Laboratorio 987 , while others document occurrances at remote locations, or exist only in the imagination. A platform-like structure and sculptures that take the form of portals or border markers constitute spaces and tools for assembly and discussion as well as hosting further two-dimensional and video works. + info...

OPENING EVENTS:

Saturday 24 September, 13:30 h
'Himno Nacional' (National Anthem, 2011) by Fermín Jiménez Landa
Duration: approx. 1h

It is often said that the best thing about a work of art is the process leading up to it. In the case of 'National Anthem' (2011) the work incorporates and unfolds many other elements, histories and anecdotes. In the context of 'Amikejo' – an exhibition project on micro-nations, historical anomalies, common endeavours and optimism – a León marching band has been invited to compose a new national anthem. In the most archaic tradition, markedly romantic, military and patriotic, the anthem enacts a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

Forming a journey loop from León to the island and back again, the musical representation of nationhood becomes an end in itself. During the exhibition opening, 65 musicians will parade through the streets of León in what could be seen as a playful, ceremonial or military action, and will perform an anthem that is familiar in its musical idiom and yet is completely unidentifiable. – Fermín Jiménez Landa

13.30h: The band Agrupación Musical La Cena will parade through five points of the old town of León playing the new anthem starting at Plaza San Marcelo (13:30 h) and thereafter proceed to the Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (in front of the cathedral); and finalise at the Plaza San Marcelo (in front of the Palacio de Botines).

19.30 h: Parade of the anthem at MUSAC's atrium.

Síguenos / Follow us: #amikejo y aquí / and here.

Exhibition made possible by the contribution of the Mondriaan Foundation, Amsterdam.

Museo de Arte Contemporáneo de Castilla y León

Avenida de los Reyes Leoneses, 24
24008 León
T: +34 987 09 00 00; F: +34 987 09 11 11

Martes–Viernes / Tue–Fri: 10–15 / 17–20h
Sábado y Domingo / Sat–Sun: 11–15/ 17–21h
Lunes: cerrado / Monday: closed

Stockholm: 'The Spiral and the Square' opening at Bonniers Konsthall, IASPIS, Moderna Museet, Biologiska Museet and a few gallery openings

2011-09-05T12:22:00.012+02:00

Street banner announcing Bonniers Konsthall's 'The Spiral and the Square. Exercises in translatability' guest curated by Jochen Volz and Daniela Castro.

23 August: Opening of Bonniers Konsthall's exhibition with the participation of: Angela Detanico & Rafael Lain; Mauricio Dias & Walter Riedweg; Eugenio Dittborn; Öyvind Fahlström; Cao Guimãraes; Dominique Gonzalez-Foerster; Fredrik Ehlin, Andjeas Ejiksson & Oscar Mangione; Laura Lima; Arto Lindsay; Dora Longo Bahia; Renata Lucas; Raimundas Malašauskas & Marcos Lutyens; Cinthia Marcelle; Rodrigo Matheus; Cildo Meireles; João Modé; Fabio Morais; Rivane Neuenschwander; Natascha Sadr Haghighian; Rirkrit Tiravanija and Haegue Yang.

Above: Two chefs prepare Rivane Neuenschwander's Gastronomic Translations (2005/2011) in temporary tents located outside Bonniers Konsthall: "Gastronomic Translations (2005/2011) has its point of departure in a shopping list that the artist found in Frankfurt. She sent it to two chefs and invited them to prepare a banquet only using the ingredients on the list. On the opening day, Bonniers Konsthall’s visitors can taste the result". [from the Konsthall web].

Rivane Neuenschwander's Gastronomic Translations, 2005-2011, by Team Kungsholmen.

(Entrance) Rirkrit Tiravanija's Untitled 2011 (police police potato grease), 2011, "is a silkscreen-workshop in the entrance of the gallery, where visitors can have a personal and unique t-shirt printed by one of our gallery hosts. The prints are in different languages – but something seems to have gone wrong in the translation." [from the Konsthall web]

Rirkrit Tiravanija's Untitled 2011 (police police potato grease), 2011, in action during the opening evening.

General view of the first exhibition space with (left) Rodrigo Matheus' Nature of Construction (2011) and (right) Haegue Yang's No. 16, Circular Flat – Lotus Robe, 2010. Far back a wooden changing room for Laura Lima's 'Marra' (1996 and 2011) performers.

Haegue Yang, No. 16, Circular Flat – Lotus Robe, 2010: "is a work comprising three light sculptures; simple, white stands in metal, covered in feathers, fabric, cables and other materials." [from the Konsthall web]

Rodrigo Matheus, Nature of Construction (2011): his "works explore representation and perception in art and nature. In Nature of Construction (2011) a metal net is put up between the branches of a tree. This type of net is put up over windows in Brazil in order to stop children from falling out. The Landscape is a kind of diorama in which a landscape painting in the background is contrasted against the authentic, but in an art gallery unnaturally installed, branches and plans in the foreground." [from the Konsthall web]
(above) General view of the second exhibition space where most works were on view: (foreground) Angela Detanico and Rafael Lain's, SATOR AREPO TENET OPERA ROTAS (2011) "is an adaption of a mysterious Latin palindrome, which can be written in a square and read from all directions. Detanico & Lain have created their own coded alphabet and written the palindrome with concrete slabs on the floor." [from the Konsthall web]. (Background) works by Öyvind Fahlström (left) and Eugenio Dittborn (right).

(above) "Dominique Gonzalez-Foerster’s Textorama (2011) has its basis in an exhibition she produced for the Hispanic Society of America in 2009-2010. Her exhibition related to the institution’s famous research library. The calligrammatic wall is an exploration and continuation of this library, with excerpts and quotations from canonical as well as unknown works of various languages."

"João Modé's 'Vanish' (2005) incense spirals have a short life cycle. Assembled in clusters, one spiral sets fire to another until only ashes remain." [from the Konsthall web]

Rivane Neuenschwander's "In 'First Love' (2005/2011), viewers can describe their first love to a police artist who creates a “facial composite” – an image that has travelled a long way from the original object of love." [from the Konsthall web]

(Foreground) Stage ready for Arto Lindsay's performance during the opening evening. (Background) "The artist duo Angela Detanico & Rafael Lain’s work is focused on language, and specifically typography. New Roman Times (2011) is a remodelling and reversal of the classic typeface Times New Roman." [from the Konsthall web]

24 August: IASPIS's corridor. Studio visits with Anna Sandgren, Priscila Fernandes, Helen Mirra and Job Ramos.

25 August: Former premises of Moderna Museet, currently hosting The Museum of Architecture.

Moderna Museet's 2004 Rafael Moneo extension with exhibitions on the museum's photography collection and a solo show of Klara Lidén.

25 August: (Below) An amazing discovery: the Biologiska Museet (Biological Museum) in Djurgården, a place that "contains collections of Scandinavian [stuffed!] mammals and birds in their natural habitats. Backgrounds for the dioramas [viewed from two levels] were painted by Bruno Liljefors, and the [1893] building was designed by Agi Lindegren, who used Norwegian medieval stave churches as a model." (from www.visitstockholm.com).

25 August: Opening of 'T-a-l-i-s-m-a-n-ic' exhibition of Lucie Fontaine at Fruit and Flower Deli Stockholm.

as well as several other galleries opening at the vibrant Hudiksvallsgatan:

Including the beautiful show 'Loch Ness, non-site' by Gerard Byrne at Galerie Nordenhake (+ and better images here).

Below detail of his work 'Some gestalt forms surveyed, and organized into primary structures, on dates between 2001 – 2011' Site: Loch Ness, Scotland, 2001 - ongoing. Silver gelatin prints, wooden forms, linen lined vitrine.

(Below) Alba S. Enström “Through love and emotions…” opened at the young Crystal

(Below) and on the first floor, Andréhn-Schiptjenko hosted a solo show of Annika von Hausswolff.

Newsletter #36 – September/septiembre 2011

2011-09-01T13:23:00.000+02:00

Newsletter in English | Newsletter en Español

LAST DAYS...

'Amikejo : uqbar (Irene Kolpelman & Mariana Castillo Deball', Laboratorio 987, 2011 season guest curated by Latitudes, MUSAC, León. Until 11 September.

OPENING 24 SEPTEMBER...

'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the exhibition cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León, 24 September 2011–15 January 2012. Opening: Saturday 24 September.

Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their working process.

–

www.youtube.com/LatitudesVideos
www.flickr.com/photos/lttds/

SAVE THE DATE: 24 September opening final 'Amikejo' show with Fermín Jiménez Landa & Lee Welch, Laboratorio 987, MUSAC, León

2011-08-29T10:00:00.001+02:00

Invitation for 'Amikejo' exhibition. Photo: Fermín Jiménez Landa & Lee Welch.

Fermín Jiménez Landa (1979, Pamplona, Spain. Lives in Valencia/Pamplona, Spain) & Lee Welch (1975, Louisville, USA. Lives in Rotterdam, The Netherlands) did not know each other before the invitation to participate in Amikejo. As if engaged in international diplomacy, the artists have had to understand each other personally and artistically before issuing what might be regarded as a joint statement based on what they have agreed and negotiated, in the form of an exhibition. Jiménez Landa and Welch have chosen to establish their collaboration in relation to the notion of the micronation and devices which delineate sovereignty – borders, stamps, anthems, and so on. Their project refers to other historical episodes in addition to Amikejo itself as well as taking inspiration from methodologies which combine fixed parameters with improvisation, such as the directing technique of filmmaker John Cassavetes.

Their works in MUSAC comprise a constellation of diverse performative, discursive, interactive and displayed elements, some of which are directly apparent in the Laboratorio 987, while others document occurrances at remote locations, or exist only in the imagination.

A platform-like structure and sculptures that take the form of portals or border markers constitute spaces and tools for assembly and discussion as well as hosting further two-dimensional and video works. A marching band from León was recruited to compose and perform a national anthem for a new autonomous island state and the founding of this micronation has been documented in video and photography. Companioning this, a series of letters have been sent by the artists using stamps from Moresnet, the republic which anteceded Amijeko. Jiménez Landa’s and Welch’s joint endeavour considers how art can produce new understanding, memories and communicative possibilities together with an audience.

A catalogue by Mousse Publishing companioning the 'Amikejo' series will be launched in early 2012, following the conclusion of the exhibition cycle.
_

Museo de Arte Contemporáneo de Castilla y León (MUSAC)
Avenida de los Reyes Leoneses, 24
24008 León, SPAIN
www.musac.es

Photo gallery of Uqbar's 'Amikejo' exhibition, on view until 11 September at the Laboratorio 987, MUSAC, León

2011-08-20T18:13:00.007+02:00

Uqbar's flickr slideshow

In the third instalment of the Amikejo exhibition cycle, uqbar (Irene Kopelman & Mariana Castillo Deball) explore the idea of working together as a subject in itself. The “interchanges, mutations, transmutations, metamorphosis and contaminations that working together entails ... the hybrids we create together, not belonging to one or the other but rather creating an in between zone”, as the artists have described.

The exhibition at the Laboratorio 987 is based on the principal of chirality or ‘handedness’. Chirality is a property of an object that is not superimposable on its mirror image. Human hands are perhaps the most recognizable example of chirality: the left hand is a non-superimposable mirror image of the right hand. Cases of chirality can be found in many different organisms in nature, such as in the twisted petals of certain orchids, shells and fish scales.

General view of the exhibition. Photo: Imagen MAS. Courtesy: the artists and MUSAC, León.

The exhibition is composed of a spiral staircase, which serves as a viewpoint for other artifacts and objects. Uqbar creates a psychedelic chiral ecosystem, featuring hanging papier-mâché epiphyte sculptures and enlarged stone microfossils, as well as “Banyan tree drawings, a video of a chemical reaction, fables among non-humans and drawings of hybrid creatures”.

Watch the video interview with Uqbar about their work in the exhibition:

Via musacmuseo's youtube

ABOUT THE ARTISTS

Uqbar is an occasional collaboration between artists Mariana Castillo Deball & Irene Kopelman initiated in 2005. Its practice has led to sculptural installations, seminars and publications, and frequently involves the cooperation of individuals outside the artistic field, including scientists and writers. Uqbar’s projects are often sparked by an oblique investigation into a particular repository of knowledge, and following Jorge Luis Borges (whose fictional place Uqbar lends its name to the foundation) they approach a world through an abundance of possible of meanings and possible histories. Fuga di Un Piano (2009) for Manifesta 7, Rovereto, Italy, for example, took the International Center for the study of Futurism as its point of departure, by presenting in part a future archive of some imagined sculptural creations of a speculative creative automaton.

Uqbar projects include Principle of Hope, Manifesta 7, Rovereto, Italy; Zeno Reminder, Cabinet Magazine Space / Performa 09, New York (2009); Principle of Hope, Manifesta 7, Rovereto, Italia (2008); Transacciones Filosóficas, Museo Astronómico de Córdoba, Argentina (2007); Blackmarket for Useful Knowledge and Non-Knowledge, 10th International Istanbul Biennial (2007); A for Alibi, Utrecht University Museum, Utrecht & De Appel, Amsterdam (2006–8).

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'Amikejo' is an exhibition cycle of four exhibitions guest curated by Latitudes, taking place in January, April, June and September 2011 at the Laboratorio 987, MUSAC. A catalogue by Mousse Publishing companioning the exhibition series will be launched in 2012 following the conclusion of the cycle.

Follow us on #amikejo and on Latitudes' website.

Exhibition kindly supported by the Mondriaan Foundation, Amsterdam.

MUSAC
Avenida de los Reyes Leoneses, 24
24008 León, ES
Tue–Fri: 10–15 / 17–20h; Sat–Sun: 11–15/ 17–21h. Monday closed.

Latitudes 'out of office' photo album 2010–11 season

2011-08-01T11:45:00.003+02:00

Following a tradition started in 2009 (see the 2010 post) we say goodbye to the 2010-11 season with an 'out of office' post with some unseen and 'behind the scenes' moments of the last 11 months. Happy holidays/felices vacaciones!
– Latitudes | www.lttds.org17 September 2010: Opening of 'Antes que todo' at the Centro de Arte Dos de Mayo, Móstoles (Madrid). Latitudes contributed artist entries to the exhibition catalogue (+ images)

20 September 2011: BCN-NYC. Ahead are 11 intense weeks of hard work as a partner organisation of 'The Last Newspaper' exhibition, for which Latitudes produced a weekly newspaper in a live situation from the New Museum galleries for 10 consecutive weeks. Weekly blogs and videos of each newspaper (now 'The Last Newspaper' exhibition catalogue): #1 The Last Post; #2 The Last Gazette; #3 The Last Register; #4 The Last Star-Ledger; #5 The Last Monitor; #6 The Last Observer; #7 The Last Evening Sun; #8 The Last Journal; #9 The Last Times; #10 The Last Express. (+ images)
25 September: Studio visit with Ester Partegàs (+ images). Partegàs was the 'advertising department' in the 10 tabloid newspaper series edited by Latitudes for 'The Last Newspaper'.

early October: Final touches to 'The Last Newspaper' exhibition curated by Richard Flood and Benjamin Godsill. Show opened 6 October 2010. (+ installation images)

21 October 2010: Presentation of 'Vic Cambrils Barcelona...' project at the Midway Contemporary Art's library, Minneapolis. A selection of 50 self- and micro-published books and paper editions by Catalan artists, designers, curators... (+ images) 22 October 2010: Yves Klein gala dinner at the Walker Art Center, Minneapolis.

13 November 2010: final checks of issue #7 'The Last Evening Sun' with the brilliant TLN part-time staffers Janine Armin and Greg Barton. (+ images of the exhibition)

18 November 2010: 'The Last...' graphic designers Chad Kloepfer and Joel Stillman discussing with New Museum's Daniel Thiem and Latitudes' the final bits & pieces of 'The Last Newspaper' catalogue.

24 November 2010: Issue #8 'The Last Journal' delivered! Won-der-ful cover by Fernando Bryce.

late November 2010: Checking the headlines of 'The Last Times' (#9) featuring Peter Piller, Robert Gober, Andrea Bowers, Angel Nevarez & Valerie Tevere amongst others.Late November: The board is almost filled with the weekly mini-posters with 'The Last...' headlines. Underneath pictures of the team that made TLN possible.

10 December 2010: This is how 10 weeks of full-time work look like if you pile them up. 10 December 2010: Packaging the 10 newspapers + cover/index with New Museum's Daniel Thiem and the ever helpful Irina Chernyakova.

early January 2011: Delivery of our copies of 'The Last Newspaper' to our home, what a moment! (+ images)

19 January 2011: Installing with Christina Hemauer and Roman Keller their show at the Aarhus Art Building, Centre for Contemporary Art, Århus, Denmark. (+ images)

The artists installing 'End of Life - Contribution to the inefficiency of poetry' (2010). They know what they are doing!21 January 2011: Leaving our cozy temporary homes before the opening of the exhibition.

26 January 2010: The crates are here! First installation of 'Amikejo: Pennacchio/Argentato' at the Laboratorio 987, MUSAC. (+ images)

Placing one of Pennacchio Argentato's slabs with the installation crew.

Amikejo wonderful helpers Pilar and Maria from the Escuela de Arte Superior de Conservación y Restauración de Bienes Culturales, León.

Final touches... Filming a short interview with Pennacchio/Argentato at the Laboratorio 987, MUSAC. You can watch it her e.21 February 2011: Delivery of Martí Anson's works in Meessen de Clercq, Brussels, for the exhibition 'Expositition International des Arts...' (+ images)

Unpacking Martí Anson's furniture, trying to make sense of their parts.

Unpacking bits and pieces of Sarah Ortmeyer's VITRINE MAURICE (2011).

Lunch break with Maria Loboda, Martí Anson and Max. Eating delicious baguettes from next door's deli.

Placing Maria Loboda's new pieces in the Wunderkammer.

Charlotte Moth's nine photographic prints before being installed.

23 February: Placing Martí Anson's furniture on the (finally dry) platform.

2 March 2011: Studio visit with Iratxe Jaio and Klaas van Gorkum deciding the display of their forthcoming exhibition at the Laboratorio 987, MUSAC. Above: home-made maquette of the Laboratorio. (+ images)

2 March 2011: Klaas van Gorkum grandfather's lathe in action in the artists' studio (+ info)2 March 2011: Trying out different displays and selecting the objects made by Klaas van Gorkum's grandfather for the exhibition, would they all fit in the platform?

3 March 2011: Laying out each page of the forthcoming publication 'Lara Almarcegui. Projects 1995-2010' in the artist studio in Rotterdam.

5 April 2011: Installation day 1 of Iratxe Jaio & Klaas van Gorkum show at the Laboratorio 987.
Tricky part: placing the platform on the wooden legs manufactured by the artists using Jos van Gorkum's lathe.

Klaas discussing with fabulous 'Amikejo' coordinator Carlos Ordás, 'Amikejo' helpers Pilar and Maria and the technicians from Artefacto how to install the photographs on the wall.

8 April 2011: Press conference at the Laboratorio 987 (+ info)9-13 May 2011: Week-long seminar with A-Study participants discussing curatorial practices. Photo: Gerda Kochanska.20 May 2011: Studio visit with Lee Welch at Piet Zwart, to discuss his ideas for the final Amikejo show (opening 24 September) at the Laboratorio 987 in collaboration with Fermín Jiménez Landa.

early June 2011: Navigating Venice by vaporetto... (photo tour Giardini, Arsenale and Eventi Collaterali)

early June: and navigating Venice by foot...

21 June 2011: Unwrapping Irene Kopelman's sculptures to be exhibited as part of Uqbar's exhibition, the third chapter of Amikejo at Laboratorio 987, MUSAC.

22 June 2011: Irene Kopelman and Mariana Castillo Deball unwrapping Mariana's sculptures.

23 June 2011: Installing Uqbar, stairs going up and down...

24 June: Final piece to install. Mariana and Irene Kopelman giving 'left, right, up...' instructions to Artefacto crew member. ( + images)

25 June 2011: Uqbar presents their show to the press and museum staff.

29 June 2011: Third day of 'Campus'. Participants chat outside and look at the project vinyls placed on the façade. (+ images)

4–8 July, week #1 with Libia Castro and Ólafur Ólafsson. Mapping participants to ideas, mapping ideas to participants.

4–8 July, week #1 with Libia Castro and Ólafur Ólafsson. Ólafur and Antoine see the world in 3D.

11–15 July, week #2 with Renata Lucas.18–21 July, week #3 with Peter Piller.18–22 July: Mariana invited by the Mondriaan visitors programme to tour Amsterdam, Rotterdam and Utrecht's galleries, museums, art centers and artist studios. Above poster campaign signed by 'Disgruntled Dutch Artists' posted in several institutions in relation to the HUGE change Dutch arts will suffer due to unprecedented cuts. (+ images)

25–29 July, week #4 with Adrià Julià.29 July, 19.30h: Opening of the exhibition of 'Campus'. After 5 weeks of group talks, video screenings, tutorials and production, a one-month exhibition opens at Espai Cultural Caja Madrid, the same space occupied by 'Campus' during the last five weeks.

All photos: Latitudes | www.lttds.org (except when noted in the photo caption).

CAMPUS: Semana #4, 25–29 Julio. Sesión de trabajo final con Adrià Julià e inauguración exposición (29 Julio, 19.30–21h)

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Adrià Julià,Videostill, 'La Villa Basque, Vernon, California' 2005. Cortesía del artista.

Semana #4: 25–29 Julio
Sesión de trabajo con Adrià Julià
(Invitado semanal, miércoles 27 julio, Jennifer Doyle, Prof. Asociada, University California, Riverside)

Viernes 29 julio, 19.30–21h: Inauguración 'Campus', Espai Cultural Caja Madrid, Plaça Catalunya 9 (esquina Rambla Catalunya) - Os esperamos!

Esta última semana se enfocará a la performatividad del discurso artístico y se trabajará sobre los distintos mecanismos de presentación y representación del propio trabajo y del ajeno. Los participantes trabajarán entorno a las estrategias narrativas que pasan por la inmediatez, la presencia, la delegación y la ausencia tanto individual como colectiva. Siendo ésta la última semana, Julià abordará las conclusiones de las experiencias acumuladas durante todas las sesiones de trabajo y los modos de presentación de las obras para la fase expositiva (29 Julio–28 Agosto).

Adrià Julià, Notes on the Missing Oh (2010). Installation, 9.84 ft. x 7.08 in. www.calfund.org

Adrià Julià (Barcelona, 1974) vive y trabaja en Los Angeles, donde se graduó en el California Institute of the Arts, Los Angeles (2003). Julià estudia los comportamientos humanos desde conceptos como memoria, resistencia, desplazamiento, sobrevivencia o erosión, para reflexionar sobre la libertad y las relaciones personales. Entre sus exposiciones individuales destacan: ‘Indications for Another Place’, Museo Tamayo, Mexico DF (2010); ‘No Place Like Home’, Insa Art Space, Seoul, Korea (2009); ‘A Means of Passing the Time’, LAXART, Los Angeles (2007); ‘La Villa Basque’, Vernon, California’, Artists Space, Nueva York (2005). Ha participado en numerosas colectivas, entre las que se encuentran: ‘Antes que todo’, Centro de Arte Dos de Mayo, Móstoles (2010); 7 Bienal do Mercosul, Porto Alegre (2009); ‘The little shop on Hoxton Street’, Limoncello Gallery, Londres (2009); 9 Biennale de Lyon, Lyon (2007). En el 2011 Julià es investigador en la Jan van Eyck Academie, Maastricht.

El 29 de julio inaugura en el Espai Cultural Caja Madrid la exposición documental que recoge los proyectos desarrollados 'Campus' (27 junio–29 julio). Quince artistas nacidos en o después del 1980 seleccionados mediante convocatoria abierta, han participado en cuatro semanas de trabajo consecutivas dirigidas por los artistas Libia Castro (Madrid, 1969) & Ólafur Ólafsson (Reykjavik, 1973), Renata Lucas (Ribeirão Preto, 1971), Peter Piller (Fritzlar, 1968) y Adrià Julià (Barcelona, 1974).

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Combinando modelos de escuela experimental y de residencia de artistas, 'Campus' es una escuela temporal, gratuita y sin créditos universitarios que tendrá lugar en el Espai Cultural Caja Madrid (Barcelona) entre el 27 Junio y el 28 Agosto 2011.

'Campus' es un proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos en Twitter #campusespai

18–22 July, Mondriaan visitors programme guest. Photo album of visits in Amsterdam, Rotterdam and Utrecht

2011-07-24T14:29:00.016+02:00

(Above) Poster campaign spread around Dutch art spaces by 'Disgruntled Dutch Artists. This one placed at the entrance to the Stedelijk Museum Bureau Amsterdam. Read more about the funding cuts.

(1 Above) Stedelijk Museum Bureau Amsterdam show: 'Mounira Al Solh & Bassam Ramlawi. And drawings by Rene' Daniels'.

(3 below) Prix de Rome 2011 exhibition at SMART Project Space, Amsterdam.

(Above) Vincent Vulma's presentation.

(Above) Edward Clydesdale Thomson's work.

Above: work by Gwenneth Boelens.

(3 photos above) Erik van Lieshout's studio in southern Rotterdam.
(Below): Erik took us to see the Kiefhook Housing estate, designed by De Stijl's architect J.J.P. Oud in the 1930s.

(Above) Lawrence Weiner piece at the Stedelijk Museum, Amsterdam.

Visiting Casco (2 above) and BAK in Utrecht (1 below).

(2 above): 'Two versions of the imaginary' exhibition at Annet Gelink Gallery curated by Maria Barnas. With works by Carlos Amorales, John Baldessari, Becky Beasley, Leidy Churchman, Dina Danish, Ryan Gander, Sharon Houkema, Emre Hüner, Martin Kippenberger, David Maljkovic and Amalia Pica.

(5 images below): Kunstverein's wonderful bookstore 'Openings & Closings – The Richard Kostelanetz Bookstore'.

(5 Below): De Appel's group show 'Genius without Talent'. Participating artists include: Andrea Božić & Julia Willms, Cobra, Constant Dullaart, Jakup Ferri, Robert Filliou, Beatrice Gibson, Laura Garbstiene, Ane Hjort Guttu, Annabel Howland, Alan Kane, Tomasz Kowalski, Suzy Lake, Pantelis Makkas, Cyprian Muresan, Sylvia Sleigh, Praneet Soi, John Smith, Helene Sommer, Leon Spilliaert, Rogier Taminiau, Piotr Uklanski, Adriaan de Villiers, Nina Yuen.

viernes 29 julio, 19.30h: Inauguración exposición 'Campus', Espai Cultural Caja Madrid, Barcelona

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Poster exposición 'Campus'.

El 29 de julio a las 19.30h inaugura en el Espai Cultural Caja Madrid, Barcelona, la exposición documental que recoge una selección de las ideas y proyectos desarrollados 'Campus' (27 junio–29 julio), la escuela de arte, temporal y sin créditos, dedicada a la reflexión y al intercambio de ideas, experiencias y conocimiento. Quince artistas nacidos en o después del 1980 seleccionados mediante convocatoria abierta, han participado en cuatro semanas de trabajo consecutivas dirigidas por los artistas Libia Castro (Madrid, 1969) y Ólafur Ólafsson (Reykjavik, 1973), Renata Lucas (Ribeirão Preto, 1971), Peter Piller (Fritzlar, 1968) y Adrià Julià (Barcelona, 1974).

La exposición, que se podrá visitar hasta el 28 agosto, incluirá trabajos colectivos e individuales realizados por los quince participantes de 'Campus'. Quim Packard (Reus, 1985) ha creado la Thompson Student Association (TSA), una asociación estudiantil de participación colectiva y abierta desde donde se han generado diferentes actividades paralelas al programa oficial de 'Campus'. La instalación "Ejercicio de ritmo" (2011) de Lola Lasurt (Barcelona, 1983), compuesta de una maqueta de cartón y plastilina y una película en super 8 (3'50''), explora el monumento dedicado al político y abogado Francesc Layret (1880–1920) situado en la Plaza Goya en Barcelona. El proyecto 'Tierra Circular' (2011) de Mónica Zamudio (Bogotá, 1985) consiste en la creación de una sociedad secreta, la Societat Real Contemporànea del Sentit Profund, a partir de la cual se presentan imágenes simbólicas irreconocibles y una red relacional de significados entorno a la palabra 'seny' (cordura en Catalán). Dada la abundancia de carteristas en Barcelona, Claudia Claremi (Madrid, 1986) ha decidido dejarse robar el bolso y poner una denuncia en la cual narra los hechos y la lista de los objetos sustraídos, dejando abierta la posibilidad de que la persona que coja o encuentre la cartera se ponga en contacto con ella o simplemente la ignore. Finalmente, Ariadna Parreu (Reus, 1982), Jordi Ferreiro (Barcelona, 1982) y Daniel Silvo (Cádiz, 1982) presentarán su trabajo colaborativo "Poplitics" durante la inauguración, una conferencia–performance que propone la confrontación de la estética musical pop y el análisis de las letras de sus canciones con el discurso político.

Poster conferencia 'Poplitics'. Cortesía: Jordi Ferreiro

Programa inauguración:

19.45h: Proyección film super 8 "Ejercicio de ritmo" (2011, 3'50'') de Lola Lasurt (Sala exposiciones)
20.00h: Conferencia "Poplitics" (2011, 10') Ariadna Parreu, Jordi Ferreiro y Daniel Silvo (Auditorio primer piso)
20.30h: 'Hiperconferencia' (15') performance de Jordi Ferreiro alrededor de la idea del hipervínculo en la que el espectador se ve involucrado en una ficción participativa (Auditorio, primer piso).

Poster acción participativa 'Hiperconferencia'. Cortesía: Jordi Ferreiro

Catálogo-dossier de 'Campus' disponible via Issuu:

Open publication - Free publishing

Espai Cultural Caja Madrid
Plaça Catalunya 9 (esquina Rambla Catalunya)
08002 Barcelona

Lun-Sáb 10–21h
Dom 10–14h

CAMPUS: Semana #3, 18–22 Julio. Sesión de trabajo con Peter Piller

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From Pfeile (Arrows), Archiv Peter Piller 2000-2006. Pigment print on paper, 40 x 48 cm, ed. 6.

Courtesy the artist and ProjecteSD, Barcelona.

Semana 3: 18–22 Julio
Sesión de trabajo con Peter Piller
[Miércoles 20 Julio, invitado semanal: Francesc Ruiz, artista, Barcelona]

Peter Piller centrará su semana en el análisis de libros y catálogos de artista. Empezará mostrando su trabajo enfocándose particularmente en los 20 publicaciones que ha publicado hasta la fecha y sobre su propia experiencia acerca del proceso de edición – el contacto con el editor, la (auto)financiación, la impresión, etc. Mediante el análisis de unos 50 libros de artista – no la historia de libros de artista – los estudiantes entrarán en contacto con casos específicos de producción editorial y artística. Cada estudiante, en diálogo con Piller, irá elaborando una maqueta de lo que sería su propio libro de artista, teniendo en cuenta el formato que más se ajuste a su práctica artística.

Vista exposición de Peter Piller en Andrew Kreps, Nueva York, 2007. www.andrewkreps.com

Peter Piller (Fritzlar, 1968), vive entre Hamburgo y Leipzig. Desde el 2006 es profesor de fotografía en la Hochschule für Grafik und Buchkunst, Hamburgo. El trabajo de Piller se centra en la meticulosa labor de coleccionar, seleccionar y clasificar fotografías procedentes de archivos, periódicos locales e internet, retratando un microcosmos de situaciones cómicas, absurdas, prosaicas e incluso macabras. Ha expuesto individualmente en: ‘To Be Determined’, Andrew Kreps Gallery, Nueva York (2009); ‘Aesthetics and Boredom’, Kunsthaus Glarus, Switzerland (2007); ‘Swiss Landscapes’, ProjecteSD, Barcelona (2008); ‘In Löcher Blicken’, Kunstverein Salzburg, Salzburg (2007); ‘Peter Piller Archives’, Witte de With, Rotterdam, Holanda (2005). Su obra ha sido expuesta en exposiciones colectivas: ‘The Logic Of Association’, MOMA PS1, Nueva York (2010); ‘Anti-Photojournalism’, La Virreina Centre de l’Image, Barcelona (2010); ‘The order of Things’, Muhka, Amberes, Bélgica (2008) y ‘Unsolved cases’, Hamburger Kunsthalle, Hamburg (2007). www.peterpiller.de

Miércoles 20 Julio, 16-18h, invitado semanal: Francesc Ruiz, artista, Barcelona.

Dan Graham manga.

Ruiz presentará: 'Del Yaoi al Bara. La representación homoerótica en el manga contemporáneo japonés y sus subculturas.'

'Del Yaoi al Bara...' es una breve introducción a la complejidad que cubre las publicaciones de yaoi y bara, sus públicos y sus formas de distribución: círculos, fanzines autoeditados, librerías especializadas para chicas, sex shops gay, internet y eventos como el Comiket. También discutirá con los participantes la violación del copyright, la globalización y las posibles analogías que pueden encontrarse entre estas subculturas y algunas prácticas que se dan dentro del arte contemporáneo.

Francesc Ruiz (Barcelona, 1971). Artista plástico. Su trabajo, centrado desde finales de los años noventa en el dibujo, ha derivado en una práctica que utiliza el cómic como medio expandido. Aplicando ciertas estrategias provenientes de la tradición del arte conceptual y del situacionismo, crea instalaciones e intervenciones vinculadas a contextos específicos. Está interesado en la historia del cómic árabe y latinoamericana, el esperpento, el detournement y la deriva, Barcelona, la parodia porno, el pastiche y el comisariado experimental entre otras cosas. Entre sus últimas exposiciones individuales se encuentran Gasworks Yaoi (Gasworks, Londres, 2010), The Paper Trail, en el Contemporary Image Collective de El Cairo (2010) y Big Boom en el Centre d’Art La Panera (2008), actualmente prepara una intervención en el metro de San Sebastián dentro de la exposición 'Ficciones Urbanas', comisariada por Neus Miró en el Koldo Mitxelena.

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Combinando modelos de escuela experimental y de residencia de artistas, 'Campus' es una escuela temporal, gratuita y sin créditos universitarios que tendrá lugar en el Espai Cultural Caja Madrid (Barcelona) entre el 27 Junio y el 28 Agosto 2011.

'Campus' es un proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos en Twitter #campusespai

CAMPUS: Semana #2, 11–15 Julio. Sesión de trabajo con Renata Lucas

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Installation view, REDCAT, Los Angeles, courtesy the artist.
Photo: Scott Groller. http://www.redcat.org/exhibition/renata-lucas

Semana 2: 11–15 Julio
Sesión de trabajo con Renata Lucas
(13 Julio, 16-18h, invitado semanal: Luis Bisbe, artista, Barcelona)

Renata Lucas iniciará su semana con una pequeña introducción sobre su trabajo y seguidamente abrirá el debate para conocer el trabajo y los intereses de los estudiantes. Durante la semana el grupo hablará sobre el espacio expositivo y sus cercanías como creadores de realidades que pueden explorarse a través de una serie de potenciales intervenciones, alteraciones o desplazamientos.

Renata Lucas, Cruzamento (Crossing), 2003. Plywood on asphalt.
Installation view at the intersection of the streets Praia do Flamengo and Dois de Dezembro. 18m x 18m. Photo: Beto Felicio

Renata Lucas (Ribeirão Preto, 1971) vive entre São Paulo y Rio de Janeiro, Brasil. Lucas manipula los espacios urbanos reflexionando sobre lo público y sobre cómo los espacios construidos determinan nuestras acciones, comportamientos o relaciones sociales. Entre sus exposiciones individuales descatan: ‘Falha’, REDCAT, Los Angeles (2007); ‘Atlas’, Galeria Millan Antonio, São Paulo (2006); ‘Gentileza’, Galeria A Gentil Carioca, Rio de Janeiro (2005). Ha participado en las colectivas: ‘Tiempo como materia’, Museu d’Art Contemporani de Barcelona, Barcelona (2009); 53 Biennale di Venezia, Venecia (2009); ‘Revolutions: Forms that turn’, Biennale of Sydney, Australia (2008); ‘The World as a Stage’, Tate Modern y ICA Boston (2007–8); y ‘Como Viver Junto’, 27 Bienal de São Paulo, São Paulo (2006). En el 2010 obtuvo el Ernst Schering Foundation Art Award, premio que le permitió realizar una exposición individual en el KW Institute for Contemporary Art, Berlin, y entre abril y junio de este año ha tenido una residencia en Gasworks, Londres.

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Combinando modelos de escuela experimental y de residencia de artistas, 'Campus' es una escuela temporal, gratuita y sin créditos universitarios que tendrá lugar en el Espai Cultural Caja Madrid (Barcelona) entre el 27 Junio y el 28 Agosto 2011.

'Campus' es un proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos en Twitter #campusespai

CAMPUS: Semana #1, 4–8 Julio. Sesión de trabajo con Libia Castro & Ólafur Ólafsson

2011-07-04T11:00:00.002+02:00

Libia Castro & Ólafur Ólafsson, "Your Country Doesn't Exist" (Venice) 2011.
From the project Your country doesn't exist, 2003–ongoing. Venice performance, 2011.
Photo courtesy: Libia Castro & Ólafur Ólafsson.

Semana 1: 4–8 Julio
Sesión de trabajo con Libia Castro & Ólafur Ólafsson

Durante esta semana se experimentará con el género del retrato y la documentación de situaciones, partiendo de un diálogo con propuestas artísticas de la última década, así como las prácticas (post)conceptuales, intervencionistas, relacionales y los 'nuevos realismos'. A partir del trabajo en equipo, se fomentará la interdisciplinaridad empleando fundamentalmente vídeo, fotografía y sonido. Reflexionando sobre su representación como construcción desde un punto de vista comprometido y crítico, se abordará el retrato a partir de situaciones y actividades concretas (cotidianas o no) encontradas, intervenidas o creadas. Al mismo tiempo se trabajará desde un punto de vista conceptual plástico intervencionista con el material en cuanto a su presentación y forma, introduciendo ideas para formatos que pueden ser presentados en distintos contextos.

Libia Castro & Ólafur Ólafsson, Fragmento film 'Lobbyist' (2009). http://libia-olafur.com/

Libia Castro (Madrid, 1969) y Ólafur Ólafsson (Reykjavik, 1973), residentes en Berlín y Róterdam, trabajan juntos desde 1997. Su obra reflexiona sobre la vida cotidiana, el trabajo, la migración, la identidad, el género, la comunicación y el espacio habitado. Han expuesto individualmente en el Reykjavík Art Museum, Reykjavík (2008); Künstlerhaus Bethanien, Berlin (2008); CAC Málaga, Málaga (2007); Galerie Martin van Zomeren, Amsterdam (2006) y en De Appel, Contemporary Art Center, Amsterdam (2004). Su trabajo se ha expuesto en exposiciones como ‘PRIX DE ROME.NL 2009’, De Appel, Amsterdam (2009); ‘Principle Hope', Manifesta 7, Trentino (2008); ‘Be(com)ing Dutch’, Van AbbeMuseum, Eindhoven (2008); ‘On Mobility’, De Appel, Amsterdam y Contemporary Art Centre, Vilnius (2005); ‘Tracer’, Witte de With y TENT, Róterdam (2004). En el 2011 representarán a Islandia en la 54 Biennale di Venezia y exhibirán en el Centro Andaluz de Arte Contemporáneo, Sevilla. www.libia-olafur.com

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Combinando modelos de escuela experimental y de residencia de artistas, 'Campus' es una escuela temporal, gratuita y sin créditos universitarios que tendrá lugar en el Espai Cultural Caja Madrid (Barcelona) entre el 27 Junio y el 28 Agosto 2011.

'Campus' es un proyecto piloto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos en Twitter #campusespai

Audio y videos conferencias 'Cuatro casos de estudio de educación artística', 28 y 30 junio, Espai Cultural Caja Madrid, Barcelona

2011-07-02T19:00:00.000+02:00

Detalle web www.lttds.org/Campus

Ya están disponibles en la página de CAMPUS (véase bajo 'Calendario') los cuatro archivos de audio y los dos videos de las conferencias "Cuatro casos de estudio para la educación artística" organizadas por Latitudes con motivo del inicio de Campus, la escuela/residencia de artistas que tiene lugar en el Espai Cultural Caja Madrid hasta el 29 de Julio.

Las presentaciones analizaron cuatro modelos educativos destinados a artistas que actualmente tienen lugar en Ámsterdam (Rijksakademie presentado por Bartomeu Marí, Director, Museu d'Art Contemporani de Barcelona (MACBA), México D.F. (SOMA presentado por Jennifer Teets, Comisaria independiente y escritora, París), Los Ángeles (The Mountain School of Arts, presentado por Carles Guerra, Director, La Virreina Centre de la Imatge, Barcelona) y Frankfurt (Städelschule presentado por el Prof. Nikolaus Hirsch, Rector, Städelschule).

Agradecemos una vez más la implicación de los cuatro conferenciantes en Campus.

Síguenos en Twitter #campusespai