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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Luc Tuymans

b. 1958, Belgium

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Luc Tuymans

Iona Whittaker RanDian First published on 8 February 2017

Luc Tuymans, Le Mépris, 2016, Exhibition view, David Zwirner, 19th Street, New York. Courtesy David Zwirner, 19th Street, New York.

In an age in which he feels artists have become exceedingly demo¬cratic, Luc Tuymans adheres closely to the method he has honed over time—mercifully without, he says, a moment of 'painter's block.' Now fifty-eight, Tuymans had his first solo exhibition in his native Belgium when he was twenty-seven. His commitment to painting is sometimes discussed in near-messianic terms, and it is true that his work has never wavered from an approach to subject matter and technique that simultaneously flattens and deeply probes them. His paintings conjure up preexisting imagery (taken from the internet, Polaroids, magazine and newspaper clippings, TV footage, and other sources) with a light¬ness that can feel almost painful. In his own words, Tuymans 'Doesn't want to think on the surface of the painting': conceptualized over a long period of time, his works, once begun, are executed from the very faintest to the highest level of contrast. The resulting effects are often ghostly or suspiciously wan, making for an implicit critique of the times from which they are drawn.

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