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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

'Why Not Ask Again' 11th Shanghai Biennale

Xin Wang art agenda First published on 11 November 2016
Chen Zhe, Remembering the Forgotten, Forgetting the Remembered (Revisiting “The Bearable”), 2007. via. art agenda.

At the 11th Shanghai Biennale, it isn’t possible to take a photograph without capturing people; the vast Power Station of Art—an electric plant turned kunsthalle since 2012—is busy throughout the preview day and public opening. The curators, Raqs Media Collective, have titled this edition of the biennale Why Not Ask Again: Arguments, Counter-arguments, and Stories, but the presence of swarming crowds prompts its own questions, the first of which is: who are these biennales for, and what does their audience want from them?

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