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Ocula ReportIranian Art at LACMA: In the Fields of Empty Days12 Jun 2018 : Perwana Nazif for Ocula{{document.location.href}}
In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art at the Los Angeles County Museum of Art (LACMA, 6 May–9 September 2018), explores 'the continuous and inescapable presence of the past in Iranian society.' Curated by Linda Komaroff, curator of Islamic art and head of LACMA's Art of the Middle East department, the...
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Ocula ConversationLaure Prouvost{{document.location.href}}
Laure Prouvost's most recent exhibition in New York at Lisson Gallery (9 March–14 April 2018) was a gesamtkunstwerk of sorts. The show spread through the entire 10th Avenue gallery space and included two years of artistic production: installation, sculpture, painting, textile, sound and moving image. Uncle's Travel Agency Franchise, Deep Travel...
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Ocula ReportDak’Art Biennale 2018: The Red Hour1 Jun 2018 : Federica Bueti for Ocula{{document.location.href}}
On my last evening in Dakar, I made my way to Yarakh, a neighbourhood on the eastern side of the Senegalese capital, where I was guided down a narrow sandy path toward a beach where a group of actors, artists, and locals were taking part in or attending the performance Xeex Bi Du Jeex (a luta continua). The play was written collaboratively in 2018...
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Loreta Sáez Franco was born in 1976 in Madrid, Spain. She started to paint when she was six years old in her parents’ fine art academy and since then she’s rarely been without paint in her hands. She also studied humanities and psychology in the Compultense University in Spain, which contributes strongly to the meaning of her creations. The artist spent a decade living between New York and London, where she updated her studies in Contemporary Art at Central Saint Martins University, London. She now lives and works in Hong Kong, but is constantly travelling around the world.

Drawing inspiration from the solemnity and spirituality of the Spanish Old Masters in combination with the effervescence and the ephemeral component of big cities where she develops her work (e.g. New York, Madrid, London, Hong Kong), Sáez Franco creates her own imagery that evokes a certain atmosphere of lost paradise. She uses her refined technique to approach deep philosophical and existential matters. Her paintings have no beginning and have no end. They transmit a certain poetic sensibility, at times full of serenity, at other times full of passion and anger.

The emotional weight of her latest works instinctively makes you feel drained by them. They have a psychological impact, each spatula touch contains a novel. It frees the imagination evoking a quasi-religious vision. The energy of Sáez Franco’s process is palpable; light plays across the painted surface echoing dynamism and vigor of its creation. Her strokes are created by a systemic body of movements, which contribute to the visual and spiritual impact of her works. Her paintings invite contemplation and are full of meaning.

Sáez Franco also makes videos bearing a certain reminiscence of German Expressionism, made using extracts from classic movies directed by Charlie Chaplin, Jean-Luc Goddard, Francois Truffault, Alain Resnais, Fritz Lang and Wim Wenders among others.

The core value of Sáez Franco’s art is best represented by the traditional Spanish aesthetics, which emphasize the harmony between human beings and religion.

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