Ocula Report Ocula 报告｜Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula 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 |...
Ocula Conversation Wong Ping: Hong Kong Fables There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
The Queen falls in Hamlet’s last scene. Like in a chess game, this move anticipates a change in the game, where the fools might rule, where restrictions lead to shortcuts, where the ordinary is overruled by what seems invisible at first. [The Queen falls. presents new and existing works by nine Mexican and international artists at Galería OMR. In an attempt to create different paths between the constantly evolving margins forged by contemporary artists, pieces are exhibited both in and outside the gallery space.
The exhibition addresses the tension that arises when seemingly invisible elements gain new and unexpected meanings. When considered anew, the things we take for granted can transform our way of seeing everyday life. From the clouds in Ugo Rondinone´s paintings that appear at once weightless and self-contained, the uncanny branches in Ast-Ast (2016) by Alicja Kwade or the bird that features in Gabriel Rico´s Can you smell maths? (2016), the fate of which seems evident yet remains unexplained: our environment may look the same but bears the possibility that the next move will forever alter our view. The Queen falls, the end seems near; or does such a move announce a change in direction?
The Queen falls, the end seems near; or is it a side step that opens up new fields of possibility, exempt from any prevailing pattern? Clues are nevertheless present; they remain right in front of us. In Hamlet, a ghost appears over the course of the play. The specter can be seen by some, yet is invisible to the Queen; he speaks to Hamlet but by others, he cannot be heard. The specter is the one ´who is not´; he embodies the “negative” space that connects each character in the play.
Similarly this exhibition sets out a hollow narrative framework, a “negative” space that exists around and in between the exhibited works. Here lie hints, that when considered individually seem to correspond to an ordinary logic. Yet as a whole, they weave a network in which every recognized rule dissolves. Akin to the specter of Hamlet, works appear to drift in and out of the gallery space, each narrative frame formulated as the visitor moves from one to the next.
