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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

Getting to grips with the nature of art at Mona

Tim Walsh Apollo First published on 19 January 2017

Who Says Your Feelings Have to Make Sense (2016), Aspassio Haronitaki, Exhibition view, Mona. Photo: Mona/Rémi Chauvin.

Since opening in 2011, the Museum of Old and New Art (Mona) in Hobart, Australia, has put man’s biological impulses and realities at the heart of its curatorial mission. Mona’s founder David Walsh declared infamously that the only relevant themes in contemporary art (and the ones guiding his personal collection) were sex and death. Newspaper headlines responded with glee. Richard Flanagan, a prominent Tasmanian author and Man Booker Prize winner, commented pointedly in a 2013 New Yorker profile of Walsh and Mona that: ‘In its free-flowing associations, Mona owes as much to the Web as it does to the past, and a visitor doesn’t so much visit Mona as surf it. It is as if the museum in its entirety were the art work.’

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