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Ocula ReportSongs for Sabotage: the 4th New Museum Triennial20 Apr 2018 : David Xu Borgonjon for Ocula{{document.location.href}}
Songs for Sabotage, the fourth edition of the New Museum Triennial (13 February–27 May 2018) curated by Gary Carrion-Murayari and Alex Gartenfeld, assembles a group of works that, according to the curatorial statement, represent 'models for dismantling and replacing the political and economic networks that envelop today's global youth.' Sabotage...
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Ocula ConversationMichaël BorremansArtist, Belgium{{document.location.href}}
Embarking on a career as a painter relatively late, at the age of 33, Belgian artist Michaël Borremans initially trained as a draughtsman and engraver at Saint Lucas in Ghent. On the occasion of his inaugural exhibition Michaël Borremans: Fire from the Sun at the new David Zwirner space in Hong Kong (27 January–9 March 2018), I spoke with Borremans...
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Ocula ReportThe Lowdown: shows to see during Gallery Weekend Berlin20 Apr 2018 : Phoebe Blatton for Ocula{{document.location.href}}
Gallery Weekend Berlin is a long-established highlight in the German art world's calendar. This year, the fourteenth edition takes place from 27 to 29 April, and features no less than 47 participating galleries showcasing emerging talent alongside established names. With many other exhibitions and events taking place across one of Europe's most...
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Eko Nugroho was born and bred in Yogyakarta, in the heart of Indonesia’s most densely populated island, Java. Trained at the Indonesian Art Institute (Institut Seni Indonesia), he entered the local art scene in the late 1990s, during the Reformasi (Reformation) era, when Indonesia was breaking free from the reigns of its New Order regime.

It was an intense and exciting period in Indonesia’s contemporary art history; freedom of expression had suddenly become a reality, and for the artistic community, this tabula rasa meant that anything and everything was possible. Cities like Yogyakarta became the center for dynamic expressions and new approaches as artists seized the opportunity to play, experiment, and exercise their newfound freedom. He daringly took on the city as his inspiration and his canvas, working across disciplines, agilely jumping from highly visible murals project to paintings and drawings, book projects, comics and animation to embroideries, sculptures, and recently contemporary interpretations of wayang kulit (shadow puppets), a traditional art form performed regularly in his village.

Early Eko Nugroho works include murals and ‘mixed-media installations’ where homemade stickers, embroidered badges and drawings were pasted on the inner city walls for public consumption. . Imbued with macabre humour and satire, Nugroho’s comic inspired work may come across as seemingly straightforward – often a central figure standing against a simple background, presented as a series of simple scenes from a larger narrative­ – while the artist’s inimitable ‘pating tlecek’ style of fusing and juxtaposing a wide range of visual elements (and languages), lends his work a certain layer of absurdity.

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