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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

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Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

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Related Press

When the World Went Pop

Randy Kennedy The New York Times 11 April 2015
Peter Blake's 'Locker,' center, with a photo mural from the 'This is Tomorrow' exhibition, background, and Richard Hamilton's 'Epiphany' on right. Peter Blake/All rights reserved.

For art lovers, and certainly for the collectors now paying tens of millions of dollars per painting at auction, Pop art and its trademark images — Marilyns, Ben-Day dots, Coca-Cola bottles, lipsticked lips — have become 20th century classicism, as canonical as Cubism and as appealing as candy. 

But for many artists working outside the United States during Pop’s birth in the early 1960s, the movement presented itself with all the charm of a steamroller. “In those years,” said Thomas Bayrle, a German painter who was making Mao’s portrait years before Andy Warhol did, “it was like a football match in which one side was always winning and the other side couldn’t even score a single goal.”

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