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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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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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