Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
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Michael Goedhuis will be exhibiting a major solo exhibition entitled Qin Feng: Desire. The exhibition will be held both at Masterpiece and at Michael Goedhuis' Cadogan Square gallery.
Qin Feng is a tough, rebellious, iconoclastic ink artist who has established an international reputation as one of the art-stars of the New Wave of modernist Chinese ink painting. His work has long been recognised and collected by numerous museums both in the West and in Asia and his work has been represented in many of the major international exhibitions throughout the world in the past twenty years.
In the current Chinese cultural environment, where there is a unique concentration of creative effort across all categories- film, music, theatre, philosophy, architecture and design, dance and art itself- Qin Feng stands with the small group of his gifted peers as an artist who is grappling with the challenge of creating a new pictorial language to express the transformation of Chinese society. But in his case, his ambition sweeps beyond China to encompass global aesthetic imperatives and aims to eschew much of the fashionable international mantras of recent years, focusing on making works that do not recoil from taking account of the past in order make sense of the present.
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