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58th Venice Biennale: May You Live In Interesting Times Ocula Report 58th Venice Biennale: May You Live In Interesting Times 24 May 2019 : Mohammad Salemy for Ocula

The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...

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Zheng Bo Ocula Conversation Zheng Bo

Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...

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Auckland Art Fair 2019: Conversations Extended Ocula Report Auckland Art Fair 2019: Conversations Extended 24 May 2019 : Sherry Paik for Ocula

The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...

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Related Press

Forgetting the Hand by Marcel Dzama and Raymond Pettibon

Zio Baritaux i-D First published on 15 April 2017

Marcel Dzama and Raymond Pettibon, I take pride as the king of illiterature (2015). Pencil, ink, gouache, and collage on paper. 21 1/8 x 16 1/4 inches 53.7 x 41.3 cm.

'Be what you want to be,' Marcel Dzama says of the theme of The Mask Makers, the booth he's curating for David Zwirner at Independent Brussels. 'The mask is freedom, anonymity, a new identity or gender, and bridging us to the afterlife.' The exhibition is rooted in Dzama's own fascination with masks, which have appeared in his work since the mid-1990s. Even as a child, Dzama was drawn to them, particularly the wooden Inuit masks at the Winnipeg Art Gallery, and a Greek theater mask that his grandmother gave him when he was eight. 'Since then,' he says, 'I've always taken note and enjoyed it when I saw other artists doing masks.'

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