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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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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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