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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

Giardini Pavilion Highlights from the 57th Venice Biennale

Katy Donoghue Whitewall First published on 11 May 2017

Japan Pavilion. Photo by Francesco Galli. Courtesy of La Biennale di Venezia.

JAPANESE PAVILION, Takahiro Iwasaki: Turned Upside Down, It's a Forest

Takahiro Iwasaki has created a multifaceted spatial experience of viewing the Itsukushima Shrine located in Hiroshima, where the artist was born, raised, and continues to work. Viewers can see the site from the perspective of a bird, insect, or fish, skewing the perception of time, material, and reality. The artist has explored Japan's rural landscape in his previous work, and furthers that investigation with this project by imagining the site seen from land and by sea. The exhibition title, Turned Upside Down, It's a Forest, comes from the idea that Venice would look like a forest if it were flipped, since it was built on stakes within a lagoon.

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