An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Japan Pavilion. Photo by Francesco Galli. Courtesy of La Biennale di Venezia.
JAPANESE PAVILION, Takahiro Iwasaki: Turned Upside Down, It's a Forest
Takahiro Iwasaki has created a multifaceted spatial experience of viewing the Itsukushima Shrine located in Hiroshima, where the artist was born, raised, and continues to work. Viewers can see the site from the perspective of a bird, insect, or fish, skewing the perception of time, material, and reality. The artist has explored Japan's rural landscape in his previous work, and furthers that investigation with this project by imagining the site seen from land and by sea. The exhibition title, Turned Upside Down, It's a Forest, comes from the idea that Venice would look like a forest if it were flipped, since it was built on stakes within a lagoon.
Since the mid-1980s, French artist Xavier Veilhan (born in 1963, living in Paris) has created an acclaimed body of works–sculpture, painting, installation, performance, video and photography–defined by his interest in both the vocabulary of modernity (speed, motion, urban life, etc.) and classical statuary. His work pays tribute to the inventions and inventors of our modern times, through a formal artistic language that mixes the codes of both industry and art.
For Xavier Veilhan, art is 'a vision tool through which we must look in order to understand our past, present, and future'. His exhibitions and in-situ interventions in cities, gardens and houses question our perception by creating an evolving ambulatory space in which the audience becomes an actor. By associating sculpture, scenery, music and living figures, he creates works to create exhibitions. Their aesthetics reveal a continuum of form, contour, fixity and dynamics, that invite the spectator to a new reading of the space and so creating a whole repertory of signs, the theatre of a society.
In 2009, Xavier Veilhan set up the exhibition Veilhan Versailles in the Palace and gardens of Versailles. Between 2012 and 2014, he developed Architectones, a series of interventions in seven major modernist buildings around the world. His interest for architecture was taken to a new level in 2014 when he designed the château de Rentilly. In 2015 he directed two films that extend these spatial explorations: Vent Moderne (La Villette, Paris) and Matching Numbers (3e Scene, Opéra national de Paris). He nourishes his material research with regular musical collaborations with artists like the band Air, musician Sébastien Tellier or pioneer composer Eliane Radigue, for whom he creates in 2013 the performance SYSTEMA OCCAM.
Frequently investing in the public space, Xavier Veilhan has installed sculptures in various cities in France - Bordeaux (Le Lion, 2004), Tours (Le Monstre, 2004), Lyon (Les Habitants, 2006), Paris (Renzo Piano & Richard Rogers, 2013) - as abroad: New York (Jean-Marc, 2012), Shanghai (Alice, 2013), Sweden (Julian, 2014), Seoul (The Skater, 2015).
Xavier Veilhan has been chosen to represent France at the 57th Venice Biennal (May-November 2017) with his immersive musical installation Studio Venezia, curated by Lionel Bovier and Christian Marclay.
There was a point where Lucia Koch was disturbed by the fact that most approaches to her works took them only as expressions of atmospheric changes on spaces and the alterations that light, modulated by filters, produced on human perception.
With just about three months to go, the 13th Havana Biennial is taking shape.Opening April 12 and running through May 12, Cuba's most important art event is expected to once again bring the international art world to Havana.Postponed due to damage from Hurricane Irma in 2017, the 13th edition expands the Biennial's reach in Havana and around the...
Hélio Oiticica (1937 – 1980) is a now integral part of the New York art scene, in large measure thanks to his 2017 retrospective at the Whitney, To Organize Delirium, which provided New Yorkers with an opportunity to experience him in full.
On 1 August, Brazilian artist Antonio Dias lost a long battle to cancer at the age of 74. Beginning in the 1960s, the artist produced a vast body of work that, in formal and conceptual terms, stood in stark contrast to the sunny output of the previous decade.
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