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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

Bill Henson's Bewitching 'Anti-Portraits' of Ballerinas

Daisy Woodward AnOther Magazine 1 December 2015
 From Particle Mist, 2015. Photography by Bill Henson, courtesy of Stanley/Barker via AnOther Magazine.

Australian photographer Bill Henson is a master of chiaroscuro – his brooding images painterly studies in light and shade. "I painted and drew and made things out of clay constantly from earliest childhood," he explains to AnOther, "and only became interested in photography at the age of 13 or 14. Before that, I never imagined for a second I would ever do anything else." But in capturing the world through a lens, Henson soon found that he could document qualities that he was unable to render in paint – and before long he was hooked.

Now aged 60, Henson is often celebrated as an investigator of "twilight zones," his work frequently probing at boundaries – between man and nature, youth and adulthood, male and female. Simultaneously, Henson's literal employment of twilight-level illumination conjures up feelings of heightened emotion within the viewer, the images at once haunting and mesmerising in their modern romanticism.

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