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58th Venice Biennale: May You Live In Interesting Times Ocula Report 58th Venice Biennale: May You Live In Interesting Times 24 May 2019 : Mohammad Salemy for Ocula

The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...

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Zheng Bo Ocula Conversation Zheng Bo

Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...

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Auckland Art Fair 2019: Conversations Extended Ocula Report Auckland Art Fair 2019: Conversations Extended 24 May 2019 : Sherry Paik for Ocula

The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...

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Related Press

The rise of Dansaekhwa

Natalie Hegert MutualArt 21 January 2016
Dansaekhwa and Minimalism, Exhibition view, 2016, Blum & Poe, Los Angeles. Pictured, left to right: Kwon Young-woo, Sol LeWitt, Chung Sang-hwa. Courtesy of the artists and Blum & Poe, Los Angeles/New York/Tokyo via MutualArt.

Dansaekhwa and Minimalism, which opened January 16 at Blum & Poe in Los Angeles, is the latest in a series of exhibitions and publications devoted to the Korean monochrome painting movement sweeping the globe of late. While Dansaekhwa (also spelled “Tansaekhwa”) emerged somewhat concurrently with American Minimalism, this is the first exhibition to consider the two movements side by side, finding subtle synchronicities between the artists’ approaches to form, material, and medium.

The artists associated with Dansaekhwa have enjoyed rising prominence in the art world, and increasing popularity among collectors, in the past few years. If one hadn’t heard of Dansaekhwa prior to 2014, it has been hard to escape since: with high visibility at recent editions of Frieze and Art Basel; a special collateral exhibition at the 2015 Venice Biennale, and with it a comprehensive book about the movement being published in English for the first time.

READ MORE ON mutualart.com


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