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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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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Melati Suryodarmo

b. 1969, Indonesia

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Tom Mouna ArtAsiaPacific 4 July 2018

Melati Suryodarmo, I Love You (2007). Performance. Five hours. Exhibition view: I Love You, ShanghArt Gallery, Beijing (18 April–14 May 2018). Courtesy ShanghArt Gallery, Shanghai/Beijing/Singapore.

For acclaimed Indonesian performance artist Melati Suryodarmo’s first comprehensive solo exhibition in China, hosted at ShanghArt Beijing, she offered a group of works that represent her two-pronged practice, which comprises photography and durational performance art—the latter being her key pursuit, and the main focus of the show.

The exhibition was split across four areas. Behind the gallery’s reception desk was a triptych of large photographs. In each of these images, Suryodarmo is seen crouching and twisting, while in one, she seems to be shouting. The actions are blurred together in the individual shots, emphasising her movement—the result of the artist’s use of an extended shutter speed. The nondescript, photography studio backdrop to Suryodarmo’s gestures reference the classical portrait genre. In this way, she uses the medium of photography to expand her exploration of performance art; for one, asking: how do sequences of movement communicate and engage? As viewers, we are also left with the question of how her practice can or cannot be situated in Western narratives of art and its history.

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