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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Related Press

Treading on Euphemisms for Women

Barbara Pollack Hyperallergic First published on 6 October 2017

Exhibition view: Lin Tianmiao, Protruding Patterns, Galerie Lelong & Co., New York (7 September-21 October 2017).

Lost in this month's furor about the use of animals in some of the works in the Guggenheim's exhibition Art and China after 1989: Theater of the World, which led to the removal of three installations, is another troubling aspect: of more than 70 artists on view in that show, only 10 are women; one of those, Sarah Morris, is not even Chinese. Certainly, the curators could have done more to redress this imbalance, but it's impossible to entirely erase the history of discrimination in the Chinese art scene during the period under consideration. The fact remains that in the 1990s and early 2000s, due to the influence of the old boys' networks in Beijing, Shanghai, and Guangzhou, very few women were allowed to emerge as artists. Only now is this beginning to change.

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