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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

The Politics Behind the Massacred Canvases of Lucio Fontana

Zachary Small Hyperallergic First published on 8 February 2019

Lucio Fontana, Spatial Concept, New York 10 (Concetto spaziale, New York 10) (1962). Copper with slashes and scratches. Photo: Zachary Small.

Lucio Fontana could have spent the rest of his natural-born life building colossal tombs and funerary statues for his father's sculpture workshop in Argentina. Instead, he traveled the world in search of immortality.

Participant and witness to the world wars that rocked early 20th-century Europe, the Argentine-Italian artist harnessed the existential dread of a battle-worn generation and slashed through his monochrome canvases with the precision of a surgeon's scalpel starting in 1958. Fontana buried his hands into these paintings' wounds, widening their lacerations by force before stuffing black gauze into them to give the impression of a measureless void. Emancipating himself from two-dimensional space, Fontana became known as a radical obscurant of the boundaries between painting and sculpture.

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