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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Wong Ping: Hong Kong Fables Ocula Conversation Wong Ping: Hong Kong Fables

There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Chiho Aoshima

b. 1974, Japan

In her most recent works, Aoshima looks past the disasters, past the end of the world. Reviving the premodern concept of history as cyclical (rather than linear and progressive), her imagery moves through the phases of urbanism or decadent civilization and the apocalypse to the rebirth of a fresh and innocent planet. In Graveheads, 2005, dark clouds converge on a crowded conglomeration of gravestones that resembles a city skyline and rain down blood; the clouds then disappear, leaving a rainbow behind. Less harsh in tone, the lovely animation City Glow, 2005 describes a city, its skyscrapers imagined as sinuous female figures twinkilng with lights, overtaken by a lush, primordial jungle. In an interview, Aoshima described a similar romantic vision: "To imagine (the city) all rotted away, overgrown with trees and weeds, is also really fun! For example, being in Shibuya at dawn when there are no people reminds me of a world where humans have perished. Like cities that met their downfalls in the past, our city shall too sometime be gone. Thinking of this makes me feel like a part of cosmic history. No matter how selfishly we live this life, we are still in the end part of nature, and no matter how we resist, we are still powerless."

Casting the collapse of present civlization as natural, part of an inevitable cycle that underlines the passive quality of contemporay identity identity that Murakami and others have noted. It seems to remove the political quality of current conditions like global warming, leaving the individual resigned to what must come. The distanced, cool effect of some of Aoshima's works seem to endorse the aestheticization of disaster, the idea that it is there for contemplation and even appreciation; as Aoshima puts it, "I would at least like to see with my own eyes what this society will look like as it crumbles away."

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In Related Press

'Juxtapoz x Superflat', curated by Takashi Murakami, Juxtapoz and Toilet Paper Magazine at Vancouver Art Gallery Related Press 'Juxtapoz x Superflat', curated by Takashi Murakami, Juxtapoz and Toilet Paper Magazine at Vancouver Art Gallery Art Radar Journal : 12 January 2017

Japanese artist Takashi Murakami’s artistic practice is expansive – spilling into fashion, film and other commercial areas. The artist turned to curating in the early 2000s, producing several projects, including Superflat (an exhibition that toured Nagoya Parco Gallery, Los Angeles Museum of Contemporary Art, Walker Art Center and Henry Art...

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