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Hito Steyerl: How To Build a Sustainable Art World Ocula Conversation Hito Steyerl: How To Build a Sustainable Art World

'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...

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Aichi to Okayama: Art in Japan Looks to the Future Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula

There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Anni Albers

(1899 - 1994), Germany

Related Press

Anni Albers weaves her magic at Tate Modern

Tanya Harrod Apollo First published on 20 October 2018

Anni Albers. Photo: Helen M. Post. Courtesy the Western Regional Archives, State Archives of North Carolina.

Just before the outbreak of the Second World War a manifesto entitled Hand-Weaving To-day was published by Faber & Faber. It argued for fresh forms of expression demanded by new conditions, observing that weaving in particular needed to find a context within 'architecture, based on the new building materials – steel, concrete, glass'. A 'synthesis of artist, craftsman and architect', was envisaged, and it was noted that 'the weaving being carried on now in modern workshops all over Europe is a creative movement, involving experimentation with new techniques, with new raw materials – involving the constant recognition of the needs of the moment – the recognition of the needs of modern building and of modern life'. Ancient Peruvian, 15th-century Chinese and early Icelandic textiles were cited as inspirational. The author was the British weaver, spinner and dyer Ethel Mairet and her book reminds us that experimental hand-weaving was an important, if overlooked, genre of artistic and industrial modernism in the first part of the 20th century. The story of the weaver Anni Albers, the subject of an impressive monographic exhibition organised by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf (where it was seen by this writer) and Tate Modern (11 October–27 January 2019) and curated by Ann Coxon, Briony Fer and Maria Müller-Schareck, takes us into the complexities and contradictions of this 'lost' 20th-century modernism, which was almost entirely led by women.

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