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Abdul Abdullah Ocula Magazine

Aaron Seeto

Ocula Conversation Aaron Seeto By Rachael Vance, Brisbane, Australia I look forward to adding to the depth of conversations about Asian and Pacific art—to look at new artists and practices emerging in the region, whilst reinforcing QAGOMA’s global leadership in the field.

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Sydney Contemporary 2022: In Photos

Ocula Photolog Sydney Contemporary 2022: In Photos Australian art fair Sydney Contemporary returns to Carriageworks from 8–11 September. Ocula's Hazel Ellis was on the ground to capture all the art, the energy, and the atmosphere on the fair's opening day.

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Taipei Dangdai 2022: Booth Previews From Five Gallery Directors

Ocula News Taipei Dangdai 2022: Booth Previews From Five Gallery Directors Taipei, 17 May 2022 The fair will feature 62 galleries when it returns to the Taipei World Trade Center from 19 to 22 May 2022. We asked directors at Yavuz, Lin & Lin, Whitestone, Asia Art Center, and Hanart TZ to share what they're showing and why.

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Southeast Asia Focus at London’s Cromwell Place

Ocula Insight Southeast Asia Focus at London’s Cromwell Place By Tessa Moldan, London The Possibility of an Island at Cromwell Place brings together works by artists from across Southeast Asia.

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Sydney Contemporary: Bridging the Gap

Ocula Feature Sydney Contemporary: Bridging the Gap By Anna Dickie, Sydney Over 80 galleries participated in the fair's fourth edition—its second annual staging, following the fair's decision to up the ante after initially launching the event biannually in 2013.

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Abdul Abdullah: Leaving Clues

Ocula Insight Abdul Abdullah: Leaving Clues By Mikala Tai, Singapore Sydney-based artist [Abdul Abdullah][0] is the 'outsider amongst outsiders', with an interdisciplinary practice that explores the misconceptions and misunderstanding of minority groups in a multicultu

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Institutional critique in the 8th Asia Pacific Triennial

Ocula Feature Institutional critique in the 8th Asia Pacific Triennial By Tess Maunder, Brisbane Reflecting on recent politics from within the Asia-Pacific region, it is apparent that exhibitions such as APT require a new set of responsibilities in order to maintain criticality with audiences

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