Ocula Conversation Cinga Samson: ‘a different conversation on representation’ By Jareh Das, New York Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...
Ocula Report Dhaka Art Summit 2020: Seismic Movements By Radha Mahendru, Dhaka Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.
Ocula Insight At the freshly opened Winsing Art Place in Taipei, works by Vietnamese-Danish artist Danh Vo are being presented in Taiwan for the first time. In this video, the founder of Winsing Arts Foundation, Jenny Yeh, introduces Vo's exhibition.
Michael Dean (b. 1977, Newcastle Upon Tyne) lives and works in London.
Read MoreIn 2016, Dean was a Turner Prize nominee and in 2018 was nominated for the Hepworth Prize for Sculpture. In 2019, Dean will have a solo shows at Museo Rufino Tamayo, Mexico City and at S.M.A.K., Ghent, Belgium, and participate in a group show at Palais des Beaux- Arts, Paris.
Recent solo shows include: Michael Dean: Laughing for Crying, St Carthage Hall, Lismore Castle Arts, Lismore (2019); Contemporary Sculpture: Sam Anderson & Michael Dean, Boca Raton Museum of Art, Florida, US (two-person with Sam Anderson, 2019); Having you on, BALTIC Centre for Contemporary Art, Gateshead (2018); ShanghArt Gallery, Shanghai (2018); Four Fucksakes, Herald St | Museum St, London (2017); Teaxths and Angeruage, Portikus, Frankfurt (2017); Lost True Leaves, Nasher Sculpture Center, Dallas (2016); Sic Glyphs, South London Gallery, London (2016); Stamen Papers, Fondazione Giuliani, Rome (2016); Qualities of Violence, De Appel Arts Centre, Amsterdam (2015); Jumping Bones, Extra City Kunsthal, Antwerp (2015); HA HA HA HA HA HA, Kunst Forum Ludwig, Aachen (2014); The Introduction of the Muscle, Arnolfini, Bristol (2013); Cubitt, London (2012); Henry Moore Institute, Leeds (2012); Kunstverein Freiburg, Freiburg (2011); Serpentine Gallery Pavilion, London (2011) and Nomas Foundation, Rome (2010).
Group shows include: Summer Exhibition 2019, Royal Academy of Art, London (2019), Scripts, Bielefelder Kunstverein, Bielefeld (2018); Give Up The Ghost, Baltic Triennial 13, Tallinn Art Hall, Tallinn (2018); Hepworth Prize for Sculpture 2018, The Hepworth Wakefield, Wakefield (2018); Raymond, Manifesta 12, Grand Hotel et Des Palmes, Palermo (2018); Alexandra Bircken, Josh Brand, Matthew Darbyshire, Michael Dean, Cary Kwok, Amalia Pica, Nicole Wermers, Herald St | Museum St, London (2018); Against The Wall?, S.M.A.K., Ghent (2018); Skulptur Projekte, Münster (2017); More Than Just Words [On the Poetic], Kunsthalle Wien, Vienna (2017); Zeno X Gallery, Antwerp (2017); Turner Prize 2016, Tate Britain, London (2016); Pierre Guyotat: La matière de nos œuvres, Galerie Azzedine Alaïa, Paris (2016); Pure Fiction, Marian Goodman Gallery, Paris (2016); Concrete Islands, Kayne Griffin Corcoran, Los Angeles (2016); House of Commons, Portikus, Frankfurt (2016); The Language of Things, Public Art Fund - City Hall Park, New York (2016); Par tibi, Roma, nihil, Nomas Foundation, Rome (2016); Albert the Kid Is Ghosting, David Roberts Art Foundation, London (2015); Sculptures Also Die, curated by Lorenzo Benedetti, CCC Strozzina, Florence (2015); The Noing Uv It, Bergen Kunsthall, Bergen (2014); MIRRORCITY, curated by Stephanie Rosenthal, Hayward Gallery, London (2014); Manners of Matter, curated by Chris Sharp, Salzburger Kunstverein, Salzburg (2014); Thousand Doors, curated by Iwona Blazwick, Whitechapel at The Gennadius Library, Athens (2014); A History of Inspiration, curated by Adnan Lyildiz, Palais de Tokyo, Paris (2013); A Dying Artist, Institute of Contemporary Arts, London (2011); Beyond the Fragile Geometry of Sculpture, curated by Lorenzo Benedetti, De Vleeshal, Middelburg (2011); We Will Live, We Will See, curated by Pavel S. Pys, Zabludowicz Collection, London (2011) and Sculpture Also Dies, curated by Lorenzo Benedetti, Kunsthalle Mulhouse, Mulhouse (2010).
Related Press How Important is Art as a Form of Protest? 3 April 2017, Frieze 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...
Related Press Why this year's Turner Prize is one of the best in ages 25 October 2016, The Telegraph It’s sculpture, but not as you know it. For years the shortlists for the annual £25,000 Turner Prize given to an artist under 50, with the runners-up each receiving £5,000, have focused on sound art, archive art, theory art, video art and other more or less immaterial forms. Last year’s competition, when much of the...
Related Press This years Turner Prize exhibition makes good on its potential to shock 5 October 2016, Hyperallergic LONDON — It’s the same thing every year. The press has a field day with some sensational piece that challenges the very definition of art and the Turner Prize is front page news for the day — a rare event for any contemporary art show — bringing it to the attention of hundred of thousands, if not millions, of potential...
