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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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L.A Story: Catherine Opie on her controversial photographs of Los Angeles subcultures, in 1998

Suzanne Muchnic ArtNews 25 January 2016
Catherine Opie, The Shoe Closet from the 700 Nimes Road Portfolio, 2010–11, pigment print. ©Catherine Opie/Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York and Hong Kong

In honor of her two shows at Lehmann Maupin and her show at the Museum of Contemporary Art in Los Angeles opening this weekend, below is a profile of Catherine Opie from the September 1998 issue of ARTnews. —The Editors, ARTnews

“L.A. Story”
By Suzanne Muchnic

From the leather crowd to mini-malls, Catherine Opie trains her lens on the subcultures of Los Angeles.

Sitting down at a table in the reception area of the Los Angeles Museum of Contemporary Art as if she were in her own living room, Catherine Opie opens a big black box of photographs. Freshly scrubbed and casually dressed in jeans and a striped shirt, the 36-year-old artist is the picture of unpretentious confidence—an all too rare example of an artist who has been catapulted from obscurity into the limelight and knows how to handle it. As the first winner of the Los Angeles museum’s Emerging Artist Award, Opie was recently honored with a show of her black-and-white photographs of freeways and mini-malls. 

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