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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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Mariam Ghani

b. 1978, Uzbekistan

Ghani's work has been exhibited internationally, including at dOCUMENTA (13), Sharjah Biennials 9 and 10, the 2005 Liverpool Biennial, Museum of Modern Art New York, Tate Modern London, and the National Gallery in Washington, DC. She was recently part of the Dhaka Art Summit 2016. Ghani has been awarded the NYFA and Soros Fellowships, grants from Creative Capital, Art Matters, the Graham Foundation, CEC ArtsLink, NYSCA, the Mid-Atlantic Arts Foundation and the Experimental Television Center, and residencies at LMCC, Eyebeam Atelier, Smack Mellon, the Akademie Schloss Solitude, and NYU's Asian/Pacific/American Institute.

Ghani's work often plays on the relationships between place, memory, history, language, loss, and reconstruction. Like Water from a Stone (2013), a collaboration between Ghani and performer/choreographer Erin Ellen Kelly, was produced during a residency in Stavanger, a coastal city known as the 'Oil Capital of Norway'. The series depicts some histories and myths of this pre-oil period on a roughly geological timeline, ranging from seaside rock formations formed by Ice Age glacier pressure to Viking rock graves to bunkers constructed during the German occupation to finally conclude in an urban playground made from repurposed oil rig equipment. By siting performances in landscapes that are simultaneously sublime and awful, existing on a scale that overpowers most human endeavor, _Like Water from a Stone _echoes the imagery of Norwegian Romantic Nationalist painters and Northern European folk tales.

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In Related Press

How Important is Art as a Form of Protest? Related Press How Important is Art as a Form of Protest? Frieze : 3 April 2017

Given the current political climate, we here at frieze have been reflecting on the role of art in responding to conflict. With this in mind, we invited a cross-section of artists, curators and writers to answer two deceptively simple questions: ‘How important is art as a form of protest?’ and ‘How effective is it as a conduit of change?’ Responses...

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Unfolding a Scene Related Press Unfolding a Scene Art Asia Pacific : 11 May 2016

What do you talk about when you talk about the body? One might say the physical body, its expanse, the politics, the perimeters, the idea of “body,” or perhaps the body in relation to conflict, in all its meanings, in its every reach. What does a body do with and in conflict? The sites that the body occupies—in its multiple, fluid...

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