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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

Chung Chang-Sup at Kukje Gallery

Joo Han Art Asia Pacific 2 May 2016
Exhibition view of Chung Chang-Sup’s self-titled exhibition at Kukje Gallery, Seoul, 2016. Courtesy Kukje Gallery.

Born in 1927, the late Chung Chang-Sup was of the so-called “foundation generation” in Korea that not only bore the potential, but also faced the question of reestablishing the nation in the wake of Japanese colonization (which ended in 1945) and the Korean War (1950–53). The apparent task for Chung, a Seoul National University graduate, was to reinvent a national identity with his art, by creating a distinct Korean style. A survey of Chung’s 50-odd-year career was recently hosted at Seoul’s Kukje Gallery, which illustrated how his artistic awareness and brilliant sensibility, upon discovering the vehicle of hanji (Korean mulberry paper), came to deliver his captivating, signature monochrome works.

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