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Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Cover Story–May 2021: RAF goes viral

May 2021 cover story on www.lttds.org

The May 2021 monthly Cover Story ‘RAF goes viral’ is now up on our homepage: www.lttds.org

RAF / Reduce Art Flights is a campaign imploring that the art world (artists, curators, critics, gallerists, collectors, museum directors, etc.) should diminish its use of aeroplanes. It was initiated by the artist Gustav Metzger (1926–2017) on the occasion of the artist’s participation in Skulptur Projekte Münster in 2007, during which 5,000 leaflets based on a 1942 Royal Air Force poster were distributed.

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→ After May 2021 this story will be archived here.

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


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Lecture ‘Curating in the web of life’ in Garage Museum of Contemporary Art, Moscow, 7 November 2019 at 7:30pm





Image: Dan Perjovschi.

On November 7, 2019, at 7:30pm Latitudes will present the lecture ‘Curating in the web of life’ in the context of the public programme related to the group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’ on view at Garage Museum of Contemporary Art, Moscow, until December 1, 2019. 

Curated by Snejana Krasteva and Ekaterina Lazareva, the exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’ currently occupies the entire Museum and presents historical and new works by over 50 Russian and international artists—from a 16th-century tapestry to works using VR.


Roman Keller and Christina Hemauer, ‘A Road Not Taken. The Story of the Jimmy Carter White House Solar Installation’, film still, 66 min., 2010. Courtesy of the artists.


‘Curating in the web of life’
— A lecture by Latitudes

Modern art and modernist art history largely assented to the ontological and epistemological lie which imagined humanity and the humanities making their own history by themselves, while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes. The increasing violence by which the limits of the planet, its feedback loops and tipping points, are forcing themselves into world events has profound consequences for how we narrate (art) history and curate exhibitions in the web of life. 

New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna will present a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” (2017–18),Hemauer Keller​: United Alternative Energies” (Kunsthal Aarhus, 2011) Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008), and related projects such as the residency “Geologic Time” (Banff Centre for Arts and Creativity​, 2017).
 
[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.
 
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