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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Related Press

Jompet Kuswidananto: 'After Voices'

Chloé Wolifson ArtAsiaPacific 31 August 2016
JOMPET KUSWIDANANTO, After Voices, 2016, resin/latex hands, costumes, motorcycle parts, motorcycle helmets, shoes, electronics, flags, speakers, drums, video and sound, dimensions variable. Exhibition view at Sherman Contemporary Art Foundation (SCAF), Sydney, 2016. Courtesy SCAF.

The voices of Indonesian contemporary artists are gaining an increasing profile in Australia along with the region. Yogyakarta is a thriving arts center, attracting artists and curators from around the region for cultural exchange. Indonesian artists appear in biennials and triennials, and are closely watched and supported by commercial galleries and collectors in Australia and elsewhere in Southeast Asia. The inaugural iteration of the Art Stage Jakarta art fair (younger sibling of Art Stage Singapore) is one recent example of this expanding profile.

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