For its fourth iteration of Made in L.A.—the Hammer Museum's biennial exhibition exclusively showing works by Los Angeles-based artists—curator Anne Ellegood and assistant curator Erin Christovale assert that there is no theme. Hence, the title: Made in L.A. 2018. The exhibition, which runs from 3 June to 2 September 2018, includes a...

In Raquel Ormella's installation City without crows (2018), an animation shows a crow repeatedly launching itself at the bars of its cage, cawing and hitting its head again and again. Ormella says the film is about being in a pet market in Yogyakarta, where she saw a recently caught bird—she could tell because it hadn't yet learnt it couldn't...

If Koyo Kouoh's 37th EVA International took the Easter Rising of 1916 as its starting point, marking the beginning of a revolutionary period that culminated in the establishment of the Irish Free State in 1922, then Inti Guerrero's follow-up edition continues the trajectory. With no title, the 38th edition of EVA International (14 April–8 July...

Latest Ocula Conversation Raquel Ormella ‘I’ve noticed there are a lot of descriptions of my practice at the moment that combine the words ‘art’ and ‘activism’. I do feel like I can't really wear that mantle anymore.’ Read More By JANE O'SULLIVAN

Raquel Ormella in front of Wealth for toil #1 (2014). Courtesy © the artist.

Latest Ocula Report Made in L.A. 2018 at the Hammer Museum By PERWANA NAZIF | July 2018 Contrary to what Made in L.A. 2018’s title suggests, this exhibition’s perspective is not limited to Los Angeles. Its main aim, according to Ellegood, is to offer ‘a response to what’s going on in the world right now’. Read More

Charles Long, paradigm lost (2018). Exhibition view: Made in L.A. 2018, Hammer Museum, Los Angeles (3 June–2 September 2018). Courtesy Hammer Museum. Photo: Brian Forrest.

Ocula Conversation Sriwhana Spong ‘I've been thinking about this idea of continuity in relation to a chorus of women's voices that writes itself and extends across time.’ Read More By TENDAI JOHN MUTAMBU

Sriwhana Spong. Photo: Lina Hermsdorf.

Ocula Report EVA International: Ireland’s Biennial Talks About Power By STEPHANIE BAILEY | July 2018 Historical works illuminate what lies at the core of this year's Eva International and its focus on power and statehood, as expressed in the former Limerick Clothing Factory, where artists turn their attention to the struggle for women's rights. Read More

John Gerrard, Solar Reserve (Tonopah, Nevada) (2014). Simulation. Exhibition view: EVA International 2018, Limerick (14 April–8 July 2018). Courtesy the artist, Thomas Dane Gallery, Simon Preston Gallery, and EVA International. Photo: Deirdre Power.

Ocula Conversation John Akomfrah ‘I start from this profoundly libertarian space, which says that all things are possible with images. But the moment and the conjunctions when they can circulate are circumscribed. There is freedom but there are also constraints, and one needs to recognise when the two are absolutely aligned to make something possible.’ Read More By FAWZ KABRA

John Akomfrah at his London studio, 2016. © Smoking Dogs Films. Photo: Jack Hems. Courtesy Lisson Gallery.

Ocula Report Billy Apple in Hong Kong: In Focus By JOHN HURRELL | June 2018 The exhibition of Apple's work does a good job of tracking the development of an artist who, out of his passion for the nuts and bolts of advertising, turned himself into a product and proceeded to interrogate the nature of transaction and negotiation on art's stage. Read More

Billy Apple at the opening of Billy Apple® Six Decades 1962–2018, Rossi & Rossi, Hong Kong (9 June–28 July 2018). Courtesy Rossi & Rossi.

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Raquel Ormella in front of Wealth for toil #1 (2014). Courtesy © the artist.

Charles Long, paradigm lost (2018). Exhibition view: Made in L.A. 2018, Hammer Museum, Los Angeles (3 June–2 September 2018). Courtesy Hammer Museum. Photo: Brian Forrest.

Latest Ocula Photolog Speech Acts: Reflection-Imagination-Repetition 27 June 2018 Through the work of more than 40 artists' work curated by Hammad Nasar, 'Speech Acts: Reflection-Imagination- Repetition' at Manchester Art Gallery, considers how public museums reflect and shape the collective imagination, and examines how exhibitions can affect these shared narratives. View Photolog

Sriwhana Spong. Photo: Lina Hermsdorf.

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Sriwhana Spong's first solo museum exhibition in New Zealand, a hook but no fish, at the Govett-Brewster Art Gallery (12 May–22 July 2018) explores a unique language—the Lingua Ignota (Latin for 'unknown language')—used by a medieval female German mystic, abbess, composer, and writer Hildegard von Bingen. Since its first showing earlier...

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