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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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Eric Baudart

b. 1972, France

Delicately transposed, it’s the displaced materiality in Eric Baudart’s works that spurs their contemporary resonance. Honey-combed plastic, millimeter paper, adhesive tape – everyday, commonplace utensils are flushed of everyday contextualisation and repurposed to create oeuvres that titter on the edge of artifice. Living and working in Paris, Baudart pursues a practice that evolves from Duchamp’s readymade, whilst simultaneously devolving from it; the works or situations proposed are not mere found objects but rather reconfigured and repurposed, composed and re-choreographed materials that have been carefully assembled or moulded to mount a delicate ballet of shapes, colour and form.

The work Cubikron 2.0 (2013), for example, stands as a clear rectangular plinth: a testimony to the adages of Antiquity, yet, simultaneously a kind of affront to its original marble materiality. Conceived of honey-combed plastic, the medium defies the gravitas of the original, whilst offering the properties of line and oscillating light. Humour, and its nascent presence, is moreover emphasised by the fiction of the title, which on the one hand derives from the Latin cubicos and on the other hand the Greek kybikós, both signifying ‘having three dimensions’. Baudart has effectively created his contemporary own; a creation that can not only stand the tests of time – and perhaps even longer than in its original conception – but also a formation that is to be viewed and observed not as a support, but as an object in its own right.

Baudart is also concerned with process; how beyond the material, its properties and original significance as well as use can be reconfigured or represented by a manner of practice. Scotch (2013), for example, presents a photograph printed on tracing paper laid on alveolar plastic. From immediate observance, however, one is not taken by this near-scientific manner of experimentation; instead one is fixated on the result, the soft pink tonal hues, which are balanced by an abstract juxtaposition of undulating lines. It is only after considering the title and Baudart’s witticism that one thinks of the brand of tape, so often found in classrooms and various ateliers. Presented here, however, Baudart has by a process of creation distracted the viewer from the material’s utilitarian source, drawing instead on its variant aesthetic possibilities.

Permeating Baudart’s work is a further concern with displacement and effect; how by virtue of presentation, one’s interaction with an object can be changed completely. The work Vinci (2013), for example, is a sodden and textured brown doormat, yet, when transposed onto the wall and encased in a metal frame, the viewer is drawn into considering its aesthetic properties. The title, which refers to one of the greatest artistic and scientific minds of the 15-16th centuries conveys again a sense of play yet, it is ultimately the alteration of context that tests the limits of objecthood.

Eric Baudart has been widely exhibited internationally with group exhibitions at the MAMCO, Geneva; Le Petit Palais, Paris; La Centrale for Contemporary Art,

Brussels; Bass Museum of Art, Miami as well as solo exhibitions at the Fondation d’entreprise Ricard, Paris and La Maison Rouge, Paris, amongst other locations. In 2011 he was the recipient of the Meurice Prize for contemporary art. Moreover, his practice has been written about in multiple publications, including Mousse Magazine, Slash Paris and The Wall Street Journal. Baudart’s work is held in various notable museum collections, including the MFA, Boston and the MAMCO, Geneva. 

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In Related Press

Review: Eric Baudart's "Again, Again and Again" at Edouard Malingue Related Press Review: Eric Baudart's "Again, Again and Again" at Edouard Malingue ArtAsiaPacific : 24 May 2015

It is difficult to describe the hypnotic effect of watching the sluggish turn of electric fans in a plexiglass tank full of viscous, amber-colored aquarium oil. In a testament to the liquid’s thickness, the blades of ten active fans fail to stir the oil. With the duality of motion and stasis at play, combined with the opposing signifiers of...

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Edouard Malingue: Invisible Light Related Press Edouard Malingue: Invisible Light Art Asia Pacific : 4 March 2015

Invisible Light, at Edouard Malingue Gallery’s new space in Hong Kong, is another exploration of such ideas, ambitiously drawing together five artists from Hong Kong, Istanbul, Paris and New York, whose works contemplate both the literal and metaphorical properties and associations of light. The works in the exhibit each evoke and manipulate...

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