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LACMA Explores the Allure of Matter Ocula Report LACMA Explores the Allure of Matter 14 Jun 2019 : Jareh Das for Ocula

The Allure of Matter: Material Art from China at Los Angeles County Museum of Art (LACMA) (2 June 2019–5 January 2020) is an inter-generational show of 21 Chinese artists working from the 1980s to the present, including Ai Weiwei, Cai Guo-Qiang, Lin Tianmiao, Song Dong, He Xiangyu, Yin Xiuzhen, and Ma Qiusha.Staged on Level 2 of LACMA's Renzo...

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Thomas J Price: Reframing Classical Sculpture Ocula Conversation Thomas J Price: Reframing Classical Sculpture

When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...

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Art Basel Lowdown: Shows to See Ocula Report Art Basel Lowdown: Shows to See 6 Jun 2019 : Tessa Moldan for Ocula

To coincide with Art Basel 2019, which opens to the public from 13 to 16 June, galleries and institutions across the city are presenting a range of stellar exhibitions. From Rebecca Horn at Museum Tinguely to Geumhyung Jeong at Kunsthalle Basel, here is a selection of what to see.William Kentridge, Dead Remus (2014–2016). Charcoal on found ledger...

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Korakrit Arunanondchai

b. 1986, Thailand

Korakrit Arunanondchai (b. Thailand, 1986) uses video, painting and performance to engage with subjects such as history, self-representation, and cultural dislocation. Through a pastiche of styles and medium, his work seeks to find common ground between Western and Thai cultural narratives, belief systems and artistic practices. Arunanondchai earned his BFA from the Rhode Island School of Design in 2009 and his MFA from Columbia University in 2012. Solo exhibitions include 2557 (Painting with history in a room filled with men with funny names 2) in collaboration with his brother Korapat Arunanondchai at Carlos / Ishikawa, London; Letters to Chantri #1: The lady at the door / The gift that keeps on giving (featuring boychild) at The Mistake Room, Los Angeles and the installation 2012-2555 at MoMA PS1, New York. In 2014 Arunanondchai participated in the touring group exhibition Beware Wet Paint at The Institute of Contemporary Arts, London and Fondazione Sandretto Re Rebaudengo, Turin. Recent performances include The Last 3 Years and the Future (with boychild and AJGvojic) at the Old Selfridges Hotel, London for ICA Off-Site and 012-2555, 2556, Painting with history in a room filled with men with funny names and the Future (with boychild, AJGvojic and Harry Bornstein), at Warsaw Museum of Modern Art, Poland.

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Featured Artworks

Untitled 2 by Korakrit Arunanondchai contemporary artwork
Korakrit ArunanondchaiUntitled 2, 2013 Bleached denim, acrylic, synthetic gold foil and cigarettes
122 x 183 cm
Duddell's

In Ocula Magazine

Whitney Biennial 2019: Between Resistance and Complicity Ocula Report Whitney Biennial 2019: Between Resistance and Complicity 31 May 2019 : Banyi Huang for Ocula

The longest-running survey of American art, the 79th instalment of the Whitney Biennial (17 May–22 September 2019) is driven by a collective sentiment of sociopolitical consciousness. Curated by Whitney staff curators Jane Panetta and Rujeko Hockley, the exhibition draws on the work of 75 artists and collectives working in the United States. On...

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Golden Jubilee: Art Brussels Ocula Report Golden Jubilee: Art Brussels 27 Apr 2018 : Denis Maksimov for Ocula

At the entrance of the fiftieth anniversary edition of Art Brussels (19–22 April 2018), Iván Navarro's Sediments (2017) at Galerie Templon's booth offered an appropriate 'welcome' into the bottomless world of an art fair—a world map rendered in lights that infinitely stretch into a void by way of an illusion created with mirrors. At La...

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In Related Press

Review: 'The Present in Drag,' 9th Berlin Biennale Related Press Review: 'The Present in Drag,' 9th Berlin Biennale Art Agenda : 7 June 2016

Berlin’s history of internecine violence is visible on its civic surface, a characteristic that holds currency in both mainstream and art tourism; what differentiates these two modes is a style rather than a politics. Who can say what a city means?Gentrification mistakes lack of capital for lack of life, confuses the unexploited with the...

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