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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

In Zurich, Zaha Hadid's final project, the design for a Kurt Schwitters show, goes on to view

Max Lakin ARTNews First published on 1 July 2016
Exhibition view of Kurt Schwitters: Merz, designed by Zaha Hadid, 2016, at Galerie Gmurzynska, Zurich. © GALERIE GMURZYNSKA

In 2010, Galerie Gmurzynska, on the occasion of its show on the great Russian liberator Kazimir Malevich, enlisted Zaha Hadid to fashion its modest storefront space in downtown Zurich into a Suprematist fantasia of exploding geometry. It was an apt pairing. At the time, Hadid’s designs spoke in a particularly Suprematist grammar: buildings like the Vitra Fire Station and the Phaeno Science Center buoyed strict, rectilinear planes that floated happily in suspended motion. Hadid had been wrapped up in Malevich since at least her time as a student at the Architectural Association in London, where she submitted projects that applied the painter’s conceptions of spatial organization to architecture and insisted on painting her proposals as geometric abstractions instead of drawing them like everyone else.

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