Ocula Report The Jeweled Isle: Art from Sri Lanka at LACMA 18 Jan 2019 : Perwana Nazif for Ocula The Jeweled Isle: Art from Sri Lanka at the Los Angeles County Museum of Art (9 December 2018–23 June 2019) is billed as the first comprehensive survey of Sri Lankan art organised by a U.S. museum, with around 240 works—including decorative objects, textiles, photographs, and historical works from the museum's own collection of Sri Lankan...
Ocula Conversation Ellen Pau Artist A radiographer by training, Ellen Pau is a self-taught artist who emerged from Hong Kong's fledgling contemporary art scene of the late 1980s, when video was a comparatively nascent medium. In 1986, Pau co-founded Videotage—a non-profit organisation that specialises in the promotion and preservation of video and new media art. Pau has an...
Ocula Report Singapore Art Week: Exhibitions to See 18 Jan 2019 : Tessa Moldan for Ocula S.E.A. Focus, the new boutique art fair by STPI – Creative Workshop & Gallery, will take centre stage during this year's Singapore Art Week (19–27 January 2019). Running between 24 and 27 January 2019, 26 galleries will participate in the inaugural edition, showcasing modern and contemporary Southeast Asian art within a pop-up structure in...
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.
