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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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Anri Sala

b. 1974, Albania

Anri Sala represents a truly contemporary international vision: working in a range of media including video, photography and installation, Sala was educated in Albania and France, but now lives and works in Berlin. In his films and installations, Sala invites viewers to participate in his world of cultural observation, for which he often uses socio-political settings and personal experiences as backdrops.

By juxtaposing elements of past and present, discordance and harmony, and by overlapping narrative, sound and movement, Sala creates a unique sensibility. With his first critically acclaimed experimental documentary Intervista (Finding the words) from 1998, the artist formulates his interest in perception of reality, truth and historical transformation. Since then, his practice emerged into a study of sound–soundtracks of images, the absence of sound, or the failure of verbal communication, all form distinct kinds of narratives.

In 2001, Sala was the recipient of the Young Artist Prize at the Venice Biennale and in 2013, he exhibited his acclaimed video works Ravel Ravel and Unravel (both 2013) for the French Pavilion. Both works analyse the perception of space through music– two versions of Ravel's Piano Concerto for the Left hand in D-major can be seen performed alongside each other. Unravel sets out to sync what deliberately was paced out of sync; Chloé, a DJ and music producer, can be observed standing in the middle of the German pavilion trying to untangle what has been entangled in Ravel Ravel.

The undercurrent of Sala's projects, such as Intervista (Finding Words) or Ravel Ravel Unravel, is a fundamentally personal exploration of intimate, interwoven stories, resonating themes of a changing society and the individual. The artist's interest in transition and rupture is demonstrated by the way in which he relates language, sound, music. The impact of his work featured at the world's top venues and exhibitions endorses Sala's conviction that art can transcend cultural references without losing any of its specificity, nor indeed, its power.

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Featured Artworks

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Hidden Songs (PP/AS) by Anri Sala contemporary artwork
Anri SalaHidden Songs (PP/AS), 2019 Heat-set toner powder and embossing on laser-cut 5ply RJ spectrum black 380gsm paper
43.2 x 43.2 x 3.8 cm (incl frame)
STPI
Untitled (Muraena Ophis/England) by Anri Sala contemporary artwork
Anri SalaUntitled (Muraena Ophis/England), 2018 Ink and rust on paper; vintage hand-coloured etching on paper, 2 parts

Sold
Esther Schipper
If and Only If (modern times) by Anri Sala contemporary artwork
Anri SalaIf and Only If (modern times), 2018 Film still milled on wood textile printing stamp
86 x 40 x 30 cm
Esther Schipper
In-Between the Doldrums (Pac-Man) by Anri Sala contemporary artwork
Anri SalaIn-Between the Doldrums (Pac-Man), 2016 2 altered snare drums, loudspeaker parts, snare stands, drumsticks, soundtrack (stereo), 4 min 34 sec loop
150 x 56 x 41 cm
Esther Schipper
The Last Resort by Anri Sala contemporary artwork
Anri SalaThe Last Resort, 2017 42-channel sound installation including 38 altered snare drums, loudspeaker parts, snare stands, drumsticks, soundtrack and 4 speakers; 58 min 28 sec
850 x 850 cm
Marian Goodman Gallery
No Window No Cry, (Oscar Niemeyer, Ciccillo Matarazzo Pavilion, Sao Paulo) by Anri Sala contemporary artwork
Anri SalaNo Window No Cry, (Oscar Niemeyer, Ciccillo Matarazzo Pavilion, Sao Paulo), 2010 Music box, glass, window frame
130.5 x 174 x 8 cm
Marian Goodman Gallery
Them Apples by Anri Sala contemporary artwork
Anri SalaThem Apples, 2017 Ink on stone paper, in artist’s frames, in 44 parts

Sold
Esther Schipper
Airport by Anri Sala contemporary artwork
Anri SalaAirport, 2005 Colour photograph on aluminium
107 x 160 cm
Hauser & Wirth

Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, That Which is Not Drawn at Marian Goodman Gallery, London
Closed
25 January–23 February 2019 Group Exhibition That Which is Not Drawn Marian Goodman Gallery, London
Contemporary art exhibition, Anri Sala, If and Only If at Galerie Chantal Crousel, Paris
Closed
15 October–24 November 2018 Anri Sala If and Only If Galerie Chantal Crousel, Paris
Contemporary art exhibition, Group Exhibition, Ghost Nets at Galería OMR, Mexico City
Closed
24 May–30 June 2018 Group Exhibition Ghost Nets Galería OMR, Mexico City

Represented By

In Related Press

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The Art Newspaper's pick of the 2019 Venice Biennale Related Press The Art Newspaper's pick of the 2019 Venice Biennale The Art Newspaper : 30 April 2019

There are hundreds of exhibitions in Venice during the Biennale. Alongside the main exhibition in the Giardini and Arsenale, there are 90 national presentations, many in nearby pavilions in the Giardini and in spaces around the Arsenale, but also dotted throughout Venice. Then there are the official collateral exhibitions in museums and galleries,...

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Strange Days review – fishy kisses, naked prancing and ribald revenge Related Press Strange Days review – fishy kisses, naked prancing and ribald revenge The Guardian : 3 October 2018

Strange Days: Memories of the Future is overwhelming: complex, at times annoying and confusing, repetitive, uplifting and baffling. Like life, really. Films and videos by 21 artists are spread over three floors of the Store X on London's Strand.

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Review: Anri Sala's The Last Resort 'an exemplary work of public art' Related Press Review: Anri Sala's The Last Resort 'an exemplary work of public art' The Sydney Morning Herald : 17 October 2017

Historians can never agree about the so-called "Age of Enlightenment". The narrow definition has it beginning with the death of Louis XIV in 1715 and ending with the French Revolution in 1789. The long version begins somewhere in the late 1600s and fizzles out in 1815 with Napoleon's defeat at Waterloo.

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A Venice Biennale About Art, With the Politics Muted Related Press A Venice Biennale About Art, With the Politics Muted The New York Times : 7 May 2017

In 2015, the Venice Biennale with Okwui Enwezor as curator sometimes felt more like a political manifesto, with readings from Marx's Das Kapital and work that touched on climate change, colonialism and the refugee crisis in the Mediterranean. The curator of this year's Biennale, Christine Macel, had a different vision: to put artists and artistic...

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