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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

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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