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Hito Steyerl: How To Build a Sustainable Art World Ocula Conversation Hito Steyerl: How To Build a Sustainable Art World

'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...

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Aichi to Okayama: Art in Japan Looks to the Future Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula

There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Chung Sang-hwa

b. 1932, South Korea

Related Press

Korea’s Monochrome Painting Movement Is Having a New York Moment

Robert C. Morgan Hyperallergic 3 December 2015
View of the exhibition Chung Chang-sup: Meditation at Galerie Perrotin (photo by Guillaume Ziccarelli, courtesy Galerie Perrotin)

The term Dansaekhwa, or “monochrome painting,” may elude readers unfamiliar with Korean, but it represents arguably Korea’s most important art movement of the late 20th century. The artists who practiced this approach to painting began to emerge in the early 1970s, when the Republic of Korea was still under a military dictatorship. They included Park Seobo, Ha Chong-hyun, Yun Hyong-keun, Kim Whanki, Chung Chang-sup, Chung Sang-hwa, and Lee Ufan, among others.

These painters were dissatisfied with the cultural lassitude in South Korea and began painting in a manner that challenged the normative aesthetic to which most Koreans were accustomed. At the outset, the artists worked independently without a group name or identity. It wasn’t until a 1980 exhibition at the Gwangju City Art Museum that the term Dansaekhwa was introduced.

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