wilheminapolder-05_small
Screening of ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008', at the Barn Hongersdijk Farmstead, Wilhelminapolder, Zeeland, The Netherlands (screening hosted by SKOR (Foundation Art and Public Space, Amsterdam), 11 July 2008.
Borrowing its title from the writings of Robert Smithson, this programme revisited a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. It was developed following an invitation to curate the spring 2008 Panorámica video cycle for the Museo Tamayo Arte Contemporáneo, Mexico City [19°28' N, 99°09' W].
The project grew out of Latitudes' work on LAND, ART: A Cultural Ecology Handbook (2006), in looking at the legacy of Land Art in relation with contemporary practice and social and environmental ecology. A concern with remoteness, together with the powerful allure of specific sites, wove throughout the films, which were set in locations including the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).
www.lttds.org/projects/previous/stake/stake.html
Photo: Latitudes | www.lttds.org
wilheminapolder-05_small
Screening of ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008', at the Barn Hongersdijk Farmstead, Wilhelminapolder, Zeeland, The Netherlands (screening hosted by SKOR (Foundation Art and Public Space, Amsterdam), 11 July 2008.
Borrowing its title from the writings of Robert Smithson, this programme revisited a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. It was developed following an invitation to curate the spring 2008 Panorámica video cycle for the Museo Tamayo Arte Contemporáneo, Mexico City [19°28' N, 99°09' W].
The project grew out of Latitudes' work on LAND, ART: A Cultural Ecology Handbook (2006), in looking at the legacy of Land Art in relation with contemporary practice and social and environmental ecology. A concern with remoteness, together with the powerful allure of specific sites, wove throughout the films, which were set in locations including the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).
www.lttds.org/projects/previous/stake/stake.html
Photo: Latitudes | www.lttds.org