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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

John Giorno

Alex Jovanovich artforum.com First published on 25 July 2017

View of 'Ugo Rondinone: I ♥ John Giorno,' Sky Art, 2017. Photo: Daniel Pérez.

I learned early on from the eats, such as Allen Ginsburg and William Burroughs—and the Pop artists too—that archives were very important. This was around the late 1950s, or the beginning of the '60s. So, I just saved all of my work. My parents had a house in Roslyn Heights, Long Island, and for fifty years I brought everything I made there for safekeeping. After my parents died, Ugo surveyed what I'd stored—he wanted to turn it into a project. This was around 2000. And then in 2003 we saw the Jean Cocteau retrospective at the Centre Pompidou—which was so brilliant and totally great. Ugo questioned what an archive for public consumption could look like, and his idea for the show developed over the course of fifteen years. It's shocking the way that everything sort of miraculously happened. Every element managed to come together and flourish.

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