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Taloi Havini: Reclaiming Space and History Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Sydney Biennale Connects Here with Everywhere Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

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HomePage Artists

b. 1974, Japan

Chiho Aoshima Biography

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."

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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."

Chiho Aoshima 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 12 January 2017, Art Radar Journal

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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