Mon, Oct 3 2022 2022, birdwatching, cover story, Helsinki, Laia Estruch, Max Andrews, parahost, podcast, PUBLICS, TBA21, website, Workshop
October 2022 cover story.
The October 2022 monthly Cover Story “Stray Ornithologies—Laia Estruch” is now up on our homepage: www.lttds.org
“Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, on 8 October Laia Estruch and Irina Mutt will lead a workshop in Helsinki as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and acoustic modalities.” Continue reading
After October 2022 this story will be archived here.
Cover Stories are published on a monthly basis on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Workshop with PUBLICS Youth for TODAY IS OUR TOMORROW 2022, 3 Oct 2022
- Podcast “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
- Laia Estruch performs “Mix” (2021-ongoing) at PUBLICS, Helsinki, March 2022
- Podcast, Episode 27: Paul O’Neill (Part 1), Ahali Conversations hosted by Can Altay, 7 September 2022
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Cover Story, September 2022: The means of print production: Erick Beltrán and lumbung press, 1 September 2022
- Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022
- Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
- Cover Story, May 2022: Things Things Say in print, 2 May 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
Tue, Sep 27 2022 2022, apunts per a un incendi dels ulls, birdwatching, decolonise institutions, Laia Estruch, Max Andrews, ocells perduts, podcast, PUBLICS, TBA21, world ecology
Listen to the podcast here.
Latitudes’ Max Andrews, a curator, writer and lifelong birder, recently conducted the podcast “Minor” Ornithologies for TBA21 on st_age (Season 4, Episode 4). The podcast’s guests are Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – what Anna-Sophie Springer and Etienne Turpin have coined “minor ornithologies”.
The interviews are complemented by two audio clips, one of a Pied Butcherbird recorded in N Queensland, and another of a Superb Lyrebird mimicking birdsong and two flute phrases recorded in New South Wales, both courtesy of Hollis Taylor.
This edition accompanies Laia Estruch’s performance “Ocells Perduts V67” (2022) also produced by TBA21 on st_age, and takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries.
(Above and below) Laia Estruch, “Ocells Perduts” (2021) was performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Estruch’s research was supported by the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.
“Ens han canviat el cel a ple vol” (Nos han cambiado el cielo a pleno vuelo / They changed the sky in mid flight) part of Laia Estruch’s “Ocells Perduts” (2021) installed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”, October 2021–February 2022. Photos: Roberto Ruiz.
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Wed, Mar 30 2022 2022, Barcelona, Cordova, Exhibition, Frieze, Max Andrews, online, print, Reviews
“An outsized satin wristwatch hangs in Cordova’s small office. Large blue gingham and orange vinyl stars span the walls, windows, doors, floor and ceiling of the adjacent gallery. Bruno Zhu’s exhibition, ‘I am not afraid’, can be consumed quickly and, as its title assures, apprehended without alarm. Yet, the digestion of its curiouser-and-curiouser blend of scalable and temporal enigmas, and autobiography with fiction, appropriately transpires more gradually.” Continue reading
View of Bruno Zhu’s exhibition “I am not afraid” at Cordova. Photos: Latitudes.
Detail of Bruno Zhu’s “Are you OK?” 2022. Satin, quartz clock movement, batteries, foam and plastic. Dimensions variable.
Sat, Nov 2 2019 2019, Bombas Gens, Fermin Jiménez Landa, Frieze, IVAM, Max Andrews, report, rethinking institutions, Valencia, writing
Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.
"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art." → Continue reading here. Max Andrews, co-director of Latitudes and contributing editor to frieze magazine, has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ for the November–December 2019 (issue 207) of frieze. The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.
Fermín Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.
View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019. (Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019. → RELATED CONTENT:
- Latitudes' writing archive.
- 11 de julio 2019, 19h: Mariana Cánepa Luna en conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM).
- ‘Thinking like a drainage basin’ essay by Latitudes in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019.
- Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019.
- Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019.
- Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019.
- Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell) 4 January 2019
- art-agenda review of Frieze week 2018 15 October 2018.
- Report from Vienna Art Week and Amsterdam Art Weekend 28 November 2018.
- Report: Liverpool Biennial 2018 "Beautiful world, where are you?" in photos 17 October 2018.
- Report from London and Oxford, 31 May 2018.
- Report from Berlin Gallery Weekend and Cologne, 9 May 2018.
Mon, Sep 16 2019 2019, copenhagen, Essay, Max Andrews, painting, Rasmus Nilausen, writing
Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.
Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ (PDF) opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.
‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’
The exhibition is on view until November 24, 2019.
Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.
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