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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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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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