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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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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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