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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

Review: Bill Henson at Tolarno Galleries, Melbourne

Emily Kiddell Art Guide Australia First published on 10 May 2018

Bill Henson, Untitled (2011–12). Archival inkjet pigment print, 180 x 127 cm. Edition of 5 + 2 AP. Courtesy Tolarno Galleries.

As the lift doors open on Tolarno Galleries, where Bill Henson's latest collection of untitled photographs is currently on display, the subdued temple-like atmosphere is immediately affecting. It encourages a distinct downward-shift in gear from the bustle and blare of the street below. The blinds are drawn. The polished black surface of the floor is like an extension of a dark body of water, which passes beneath the detail of an ancient bridge depicted in a landscape on the first west wall. These artworks, arranged in flowing sequence, continue Henson's interest in ambiguity and moments of transition; they both allude to and attempt to lengthen what he called in his 2010 Melbourne Art Foundation Lecture "the vast backward shadow of art."

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