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Ocula ReportIranian Art at LACMA: In the Fields of Empty Days12 Jun 2018 : Perwana Nazif for Ocula{{document.location.href}}
In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art at the Los Angeles County Museum of Art (LACMA, 6 May–9 September 2018), explores 'the continuous and inescapable presence of the past in Iranian society.' Curated by Linda Komaroff, curator of Islamic art and head of LACMA's Art of the Middle East department, the...
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Ocula ConversationLaure Prouvost{{document.location.href}}
Laure Prouvost's most recent exhibition in New York at Lisson Gallery (9 March–14 April 2018) was a gesamtkunstwerk of sorts. The show spread through the entire 10th Avenue gallery space and included two years of artistic production: installation, sculpture, painting, textile, sound and moving image. Uncle's Travel Agency Franchise, Deep Travel...
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Ocula ReportDak’Art Biennale 2018: The Red Hour1 Jun 2018 : Federica Bueti for Ocula{{document.location.href}}
On my last evening in Dakar, I made my way to Yarakh, a neighbourhood on the eastern side of the Senegalese capital, where I was guided down a narrow sandy path toward a beach where a group of actors, artists, and locals were taking part in or attending the performance Xeex Bi Du Jeex (a luta continua). The play was written collaboratively in 2018...
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Being one of Indonesia's most provocative and engaging artists, Entang Wiharso his paintings and Installations combine personal, Western and Indonesian mythologies and cast a critical eye on International politics, environmental issues and cultural stereotypes and prejudices.

He is indeed drawing on history and mythology from his home culture of Indonesia, while also responding to Western culture and globalization since making his second home in Rhode island. In His personal experiences are embedded with a strong examination of the predominant socio-political conditions of his home country Indonesia. To him, creating work is a way of understanding the human condition, of heightening our ability to perceive, feel and understand human problems like love, hate, fanaticism, religion, and ideology.

Recently, an increasing use of written text has entered his works: slogans, signs, philosophy or common phrases are collected from newspapers, political campaigns, quotes from important or influential people or characters from TV or films. Used directly or altered by i.e. changing the punch line, underlying meanings are exposed and add a further component to the complex artistic language of his work. His work shows ambiguous profiles, similar to the forms of giants in the myths of Java, and combines them with contemporary elements. He puts together “primitivism” with a cartoon’s language of his contemporary life, being able to transport primitivism in his actual reality.

“I depict the condition of humans who are often divided by complex, multilayered political, ethnic, racial, and religious systems: they co-exist yet their communication is limited and indirect. Figures are interconnected by intuitive as well as intellectual linkages, including ornamental vegetation, tongues, tails, intestines, animal skin patterns, fences and detailed landscapes.“ Entang Wiharso, 2011

Stay Focus, 2011 is part of a series of wall-mounted reliefs entitled “Comic Book Series”. These works present a variety of scenarios about the pleasures and pitfalls of power. The eye is a metaphor of awareness - our conscious - always watching, recording and reminding us of flawed choices and their repercussions. Sexuality, possession and desire also play important roles in these works and the fence, which frames the figures, alludes to boundaries which differentiate, exclude and protect. 
   

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