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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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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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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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Joan Miró

(1893 - 1983), Spain

Related Press

Joan Miró’s Modernism for Everybody

Peter Schjeldahl The New Yorker First published on 11 March 2019

Joan Miró's, Painting (1933). © 2019 Successió Miró / ARS / ADAGP.

Painting, painted by Joan Miró in 1933, in Barcelona, is a composition of black, red, and white blobby shapes and linear glyphs on a ground of bleeding and blending greens and browns. It hangs in Joan Miró: Birth of the World, an enchanting show at the Museum of Modern Art that draws on the museum's immense holdings of Miró's work, along with a few loans. Painting is a bit sombre, for him, but it has the ineffably friendly air of nearly all his art: adventurous but easy-looking, an eager gift to vision and imagination. It invokes a word inevitably applied to Miró: 'poetic,' redolent of the magic, residual in us, of childhood rhymes, with or without figurative elements. Never unsettling in the ways of, say, Matisse or, for heaven's sake, Picasso, Miró is a modernist for everybody.

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