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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

Lucien Clergue - obituary

Telegraph First published on 18 November 2014

Lucien Clergue with his first camera at Montmajour Abbey in Arles in 2004.

Lucien Clergue, who has died aged 80, was a French photographer whose friendship with Pablo Picasso helped forge a passion for bulls in the ring and women on the beach.

A short, sharply dressed man with a clipped beard, Clergue was a true Mediterranean. He lived in the Arles area for most of his life, photographing its bullfights, circuses and local beauties.

The last were the subject of a series of nudes taken in the dunes and surf along the coast of the Camargue. He treated a nude as if it were a landscape: his models were generally photographed in part, mostly with faces out of frame, and with their contours striped with shadows or, as he put it, "dressed in light". They often appeared more like Henry Moore's amorphous sculptures than real women.

However, Clergue's impact on the photographic community was perhaps more pronounced away from the lens. In 1968 he co-founded the Rencontres d'Arles festival in his home town, now one of the most important dates in the photography calendar; 96,000 people visited in 2013.

READ MORE ON telegraph.co.uk


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