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Image description
Slideshow of images showing works by Nancy Holt, Nick Raffel and Ghislaine Leung.

[1 and 2] Nancy Holt, “Ventilation IV: Hampton Air”, 1992. Guild Hall Museum, East Hampton, New York.

GuildHall Museum, East Hampton, New York. Steel ducts, fans, turbineventilators, shanty caps. Indoor section: 4.9 x 5.5 x 8.5 m. Outdoor section: 4.8 x 6.1 x 8.2 m.©Holt/Smithson Foundation / Licensed by Artists Rights Society, NewYork. [3] Nick Raffel, “Pied-à-terre”, San Francisco, 2022. Photo: McIntyre Parker. Courtesy of the artist. [4] Ghislaine Leung, “Violets 2”, 2018. Galvanised Steel Ventilation System, Brackets, Screws, Bolts, Dirt, Welcome Sign. Ventilation System removed from Network Aalst Bar during 2017 refurbishment. Commissioned by Network Aalst, Belgium. Score: All pipes removed for refurbishment reinstalled within the space of one room and bracketed fixed to the floor, using as much of the material as possible while keeping it all interconnected. Spare pieces that do not fit in this configuration are to be bracketed together in smaller formations. A welcome sign to be installed. Installation view at Simian, Copenhagen. Courtesy the artist and Maxwell Graham, New York.



Mariana Cánepa Luna from Latitudes was commissioned to contribute an essay on a work by Nancy Holt (1938–2014) for the Holt/Smithson Foundation’s Scholarly Text Program.



Cánepa Luna focused on Nancy Holt’s “Ventilation System” (1985–92), a site-responsive installation in which interconnected industrial-scale stainless steel ducts channel airflow in and out of a gallery space. In today's context, Holt’s work resonates with increasing awareness of sustainability. Recent works by artists like Nick Raffel (fan (Wesleyan), 2022; wind dial (Pied-à-Terre), 2021) and Ghislaine Leung (Violets 2, 2018) explore similar themes of air circulation, efficiency, and institutional critique. As climate concerns grow, Holt’s pioneering approach encourages practical and symbolic shifts toward ecological responsibility in the art world.



The Scholarly Text Program regularly commissions scholars from a range of disciplines to write on single artworks by Holt and/or Smithson, exploring how the artists’ ideas resonate through contemporary artistic and cultural production.



Read this and other essays, reviews, interviews or profiles here.

Longitudes

This section of Latitudes’ web cuts across 19 years of projects and research with updates and reportage

17 Sept 2024 Max Andrews’ Manifesta 15 highlights in frieze

16 Sept 2024 Conclusion of the International chapter GCC Spain 
2 Sept 2024 Cover Story: THE CREST OF A WAVE

29 Jul 2024 Latitudes’ “out of office” 2023-24 season

3 Jun 2024 Review of Rosa Tharrats for Artforum
1 Jun 2024 Cover Story: Terence Gower
23 May 2024 Aranberri’s “Entresaka” at ARTIUM in frieze
30 April 2024 Cover Story: Serra & Garde
9 Apr 2024 Gallery Climate Coalition Active Membership
2 Apr 2024 Cover Story: Jaio & van Gorkum
11 Mar 2024 #TrainToARCOmadrid y artículo en Exibart
4 Mar 2024 Cover Story: Dibbets in Palencia
19 Feb 2024 Text on Crystal Bennes for “Betwixt 2024”

41° 23' 19.64'' N

Max Andrews and Mariana Cánepa Luna founded Latitudes in 2005, a curatorial office based in Barcelona working internationally across contemporary art practices.

#LatitudesBarcelona #CuratedbyLatitudes



Copyright © 2005–2024 Latitudes


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