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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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Related Press

Nam June Paik has the last laugh

Jeff Michael Hammond The Japan Times First published on 13 September 2016
Nam June Paik, Forest of Cage — Revelation of the Forest, 1993. Photo: Tadashi Okakura.

Rapid, multilayered, fluid — the high-tech images created by Nam June Paik earned him the epithet the Father of Video Art. He may be most often associated with banks of television screens and intense, distorted video images, but as a new retrospective of his work at the Watarium (The Watari Museum of Contemporary Art) in Tokyo highlights, there was more to Paik’s art than a fascination with technology.

The 10th Anniversary Retrospective of Nam June Paik — 2020: Who is the One Grinning ?+?=??, showcases the South Korean-born artist’s videos, sketches, paintings, posters and plans of unrealized projects a decade after his death at the age of 73. With all works drawn from the museum’s collection, the Watarium’s connection with the artist goes back as far as 1978, when Paik held an exhibition at the predecessor to the museum, Galerie Watari.

READ MORE ON japantimes.co.jp


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