Ocula Conversation Thao Nguyen Phan: Dangerous Optimism Tessa Moldan, Brussels With Monsoon Melody on view at WIELS, Brussels, her largest solo exhibition to date, Thao Nguyen Phan discusses her transition to film to explore colonial legacies and ecological destruction in Vietnam.
Ocula Report Frieze Los Angeles: Shows to See Tessa Moldan, Los Angeles Los Angeles' art scene has a lot to offer during Frieze Los Angeles, with galleries, non-profits, and museums gearing up for the fair's second edition between 14 and 17 February 2020. In this Ocula Lowdown, Tessa Moldan lists a selection of the city's must-see shows.
Ocula Insight Jaki Irvine's Manifesto on Life at Kerlin Gallery, Dublin Apoorva Rajagopal, Dublin Ack Ro' , Jaki Irvine's reflection on the fragility of life at Kerlin Gallery, Dublin, is an 'ambitious, holistic installation' staged like a 'wild disarray of interconnected yet fragmented pieces'.
Born in New York, 1957, the American artist Tony Oursler is known for his multimedia works, his installations and his works of performing art.
Read MoreThe multimedia works that made him famous are videos projected in three dimensions, often on spherical surfaces, which accentuate the expressive charge of the subject, a face in the act of speaking, observing or shouting.
Combining sculpture, multimedia projections and recordings of the human voice, Oursler seeks interaction with the audience and the animation of psychological and philosophical concepts within an almost dreamlike space. Great attention is given to the light. In 2013 he directed the videoclip of his long-time friend David Bowie 'Where are we now?'.
His works are present in collections such as: The Carnegie Museum of Art (Pittsburgh), Fondation Cartier pour l'Art Contemporain (Paris), the Hammer Museum (Los Angeles), the Honolulu Museum of Art, the Milwaukee Art Museum, the Modern Art Museum of Fort Worth, the Museum of Modern Art (New York City), the Tate Modern, and the Whitney Museum of American Art (New York City).
Text courtesy Dep Art Gallery.
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