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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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Eros and elegy: On L.A.'s queer moment

Maximiliano Durón ARTNews First published on 15 August 2016
Performance view of Amy Von Harrington and Jaye Fishel’s The Holes of Your Memory, 2016, in Queer Biennial II, at Industry DTLA. © Rubén Esparza. 

When I visited Los Angeles this past June, the city was having a queer moment, one anchored by history. Drawing from their 2011 joint acquisition of almost 2,000 artworks by Robert Mapplethorpe, the J. Paul Getty Museum and the Los Angeles County Museum of Art staged a two-part retrospective of the photographer’s work. Also at LACMA was Catherine Opie’s O Portfolio of the late 1990s, and at JOAN there was Aura Rosenberg’s Head Shots from the same decade. Bringing things into the present, but focused on exploring the recent past, was the freewheeling Queer Biennial II at various venues but with its opening and main group show at Industry Gallery DTLA in downtown.

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