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b. 1957, Ghana

John Akomfrah Ocula Magazine

John Akomfrah Ocula Conversation John Akomfrah By Fawz Kabra, New York

I start from this profoundly libertarian space, which says that all things are possible with images. But the moment and the conjunctions when they can circulate are circumscribed. There is freedom but there are also constraints, and one needs to recognise when the two are absolutely aligned to make something possible.

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London Gallery Weekend: Shows to See Ocula Feature London Gallery Weekend: Shows to See By Tessa Moldan, London

Ocula Magazine presents a selection of highlights at the inaugural London Gallery Weekend.

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March Meeting Unfolds Okwui Enwezor’s ‘Postcolonial Constellations’ Ocula Feature March Meeting Unfolds Okwui Enwezor’s ‘Postcolonial Constellations’ By Stephanie Bailey, Sharjah

At the 2021 March Meeting, a series of roundtables traced the Sharjah Biennial's 30-year history, unfolding the past into the present.

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Yerevan Biennial Launches Online as Shells Fall Ocula News Yerevan Biennial Launches Online as Shells Fall Yerevan, 19 October 2020

Opening events for the digital exhibition were postponed due to ongoing conflict between Armenian and Azerbaijani forces.

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Non-Aligned Histories Converse at NTU CCA Singapore Ocula Feature Non-Aligned Histories Converse at NTU CCA Singapore By Stephanie Bailey, Singapore

Three video works by John Akomfrah, Naeem Mohaiemen, and The Otolith Group explore histories of decolonisation.

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Lahore Biennale 02: Past Reminders, Possible Futures Ocula Feature Lahore Biennale 02: Past Reminders, Possible Futures By Qalandar Memon, Lahore

The Lahore Biennale took place in sites built and used by the Mughals, the British, and the postcolonial Pakistan state.

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58th Venice Biennale: May You Live In Interesting Times Ocula Feature 58th Venice Biennale: May You Live In Interesting Times By Mohammad Salemy, Venice

Mohammad Salemy reviews the 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), where 'Lithuania demonstrated how it is possible to be both socially relevant while pulling off one of the most likeable national pavilions in recent memory.'

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