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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

Woven Labours

Karen Smith Art In America First published on 12 October 2017

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

Amid the dry, dusty air of June in Beijing, Lin Tianmiao's studio is a hyperclean sanctuary. Lin, China's foremost experimental woman artist, keeps anything that is less than pristine firmly locked outside. Especially at this moment, as she pushes to prepare works for imminent shipment to New York for her fall retrospective at the Asia Society. Lin (b. 1961) has exhibited internationally since 1997, but this is the first major survey of her work. In the studio, the atmosphere is tense. 'We're refinishing the surfaces of these sculptural pieces,' Lin explains, pointing to the small, rounded figure of a woman's body—resembling a miniature Renoir nude done in polyure—balanced in the hands of a female assistant who patiently smoothes a fringe of threads hanging from one side of the body.

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