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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Sydney Lowdown: Exhibitions to See Ocula Report Sydney Lowdown: Exhibitions to See 6 Sep 2019 : Elyse Goldfinch for Ocula

The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Jacqueline Fraser

b. 1956, New Zealand

Related Press

Other Elsewheres: New Zealand at the Venice Biennale

Tamzen Dunn The Pantograph Punch First published on 12 June 2015

Simon Denny, Secret Power (2015). Exhibition view: New Zealand Pavillion, Biblioteca Nazionale Marciana and Marco Polo Airport, Venice Biennale. Courtesy Galerie Buchholz, Cologne/Berlin; Michael Lett, Auckland, New Zealand; Petzel Gallery, New York. Image via The Pantograph Punch.

New Zealand's official platform at the Venice Biennale began in 2001, and our formal representation was arguably already overdue at this point. There had been anomalous instances of New Zealanders exhibiting at the Biennale: Frances Hodgkins (she was meant to be in a group show representing Britain, though this was never realised because of World War II), Kate Coolahan (works shown in 1972), Boyd Webb (as a part of Aperto 86), and later Simon Denny (in a curated show, 2013). Then there were the moments when it was like Federation had gone ahead, as New Zealanders showed works in various Australian exhibitions: Rosalie Gascoigne (1982), Richard Killeen (1990), and Daniel von Sturner (2007).

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