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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Related Press

MARY CORSE: A Survey in Light

Elizabeth M. Gollnick The Brooklyn Rail First published on 11 July 2018

Mary Corse, Untitled (White Multiple Inner Band) (2003). Glass microspheres and acrylic on canvas. 96 × 240 inches. Courtesy Kayne Griffin Corcoran, Los Angeles, Lehmann Maupin, New York; and Lisson Gallery, London. Photo: © Mary Corse.

At the entrance to Mary Corse: A Survey in Light at the Whitney Museum of American Art, a monitor plays White Light (1968), a film showing a young Mary Corse at work in her studio. In one scene, Corse holds a square of fluorescent tubing, moving it playfully in front of the camera. The square begins to glow, seemingly from within, without any apparent wires or electrical source. This scene encapsulates Corse’s 'light painting' practice, developed in the 1960s during the postwar technology boom in Southern California. Corse’s work has been aligned with several strains of postwar abstract art, including Minimalism and Light and Space. She engages with issues of interest to both groups, including the relationships between the work of art and the space of exhibition on one hand, and the engagement of a spectator on the other.

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