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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

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...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

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...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

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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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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