Fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia


The fifth 'Incidents (of Travel)' episode narrates an encounter between curator Simon Soon and artist chi too. Their offline day took place in April 2016, when they visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."

Each of the 16 photographs and videos is augmented by one or more extra assets (a brief commentary, a caption or a soundscape), accessed by clicking the words which overlay the images. 

Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist' instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative). 

The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.

Since April 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes regular contributions from invited curators and artists working around the world. 

The series inaugurated in April 2016 with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan. The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972. The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China. The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.

Forthcoming:Marianna Hovhannisyan (Yerevan).
  

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Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h



Conversación entre Haegue Yang y Latitudes
Miércoles 3 de mayo, 19:30h. 
Actividad gratuita. Aforo limitado. 
Reservas: [email protected] 
c/ Aragó 255, 08007 Barcelona
 
El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?

Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo. 

 
 
Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.



Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.

 
Instalación 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion' (2012) de Haegue Yang, comisariada por Julienne Lorz en Haus der Kunst, Munich. Foto: Latitudes.

Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol.

Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.

Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013. 


Fotografiando el tote bag realizado por Haegue Yang realizado en colaboración con OK-RM, que conmemora el 10º aniversario de Latitudes. Foto: Latitudes.

Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.


 
'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.

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Cover Story – April 2017: "Banff Geologic Time"

The April 2017 Monthly Cover Story "Banff Geologic Time" is now up on www.lttds.org after April it will be archived here.  

"Johann Wolfgang von Goethe spent a great deal of time worrying about stones. Not least, he was troubled by a giant 700-tonne granite rock that lay near the otherwise flat land near Berlin. What on earth was this alien to the region’s geology doing there? Goethe’s realisation that the strange mineral object must have been displaced by glaciers helped instigate the theory of ice ages and deep time. Stone provokes us to recalibrate our concept of the past and our place in the world. Rock is radical." Continue reading by clicking the grey bar underneath the image.

We remind artists, researchers, cultural writers and curators interested in slower and longer-term view of art, exhibitions, and their institutions (as well as rocks of course!) that the call for the Banff thematic residency programme "Geologic Time" (September 11–October 6, 2017) led by Latitudes and artists Sean Lynch as Guest Faculty, is open until May 24 (11:59pm MST).




Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities, and are archived here.

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