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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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Joy Hester

(1920 - 1960), Australia

Joy Hester was the only woman member of the Angry Penguins, Melbourne’s wartime group of expressionist painters that included her first husband Albert Tucker and her friends Sidney Nolan, Arthur Boyd, John Perceval and Danila Vassilieff. Hester also had a close friendship with arts patrons Sunday and John Reed who, from the 1930s, had opened their home Heide to painters, poets and musicians. 

Hester’s expression as an artist was as radical and as intense as her life. She chose to draw and rarely used oils. It meant she created a space for the development of her vision separate from her circle who favoured easel painting. Her medium was brush and ink and her usual method of working was to sit on the floor, either in company or alone, and rapidly produce up to 20 drawings

In Ocula Magazine

Patricia Piccinini & Victoria Lynn Ocula Conversation
In collaboration with TarraWarra Museum of Art
Patricia Piccinini & Victoria Lynn

Patricia Piccinini & Joy Hester: Through love ... at TarraWarra Museum of Art (24 November 2018–11 March 2019) is an exhibition that reveals shared explorations of love, intimacy, and relationships in the work of two of Australia's leading artists. This is the first exhibition to explore the conceptual links between the works of Patricia...

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In Related Press

Intimate and Grotesque: Patricia Piccinini's Hyper-Real Sculptures of Imaginary Life Forms Related Press Intimate and Grotesque: Patricia Piccinini's Hyper-Real Sculptures of Imaginary Life Forms Broadsheet : 26 November 2018

It's six o'clock in the morning and I'm in a hot air balloon high above the Yarra Valley to get a glimpse of the Skywhale. She floats majestically in the morning sky, all 10 breasts hanging pendulously. It's very rare to see her in flight, and even now we can't get that close. At 34 metres tall she's pretty hard to miss. She's also unwieldy and far...

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Patricia Piccinini and Joy Hester united by love Related Press Patricia Piccinini and Joy Hester united by love Australian Financial Review : 23 November 2018

The word "love" covers a multitude of feelings that span everything from sexual desire to a connection with the environment. The works by two women artists at Victoria's TarraWarra Museum of Art show how much richer our visual vocabulary is when it comes to capturing the nuances of our emotions.

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