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Latest Ocula Conversations Cristina Ricupero and Jörg Heiser Dr Apinan Poshyananda Paulo Sérgio Duarte on Antonio Dias Ekaterina Degot Suki Seokyeong Kang Latest Ocula Reports Frieze Week 2018: London, Masters and 1-54 Anni Albers: In Focus A Journey That Wasn’t at The Broad, Los Angeles Contemporary Istanbul: Open for business Imagined Borders at the 12th Gwangju Biennale
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Ocula ReportFrieze Week 2018: London, Masters and 1-5412 Oct 2018 : Amah-Rose McKnight-Abrams for Ocula{{document.location.href}}
A rush of politics kicked off Frieze Week this year, with a talk between Chelsea Manning and James Bridle organised by the Institute of Contemporary Arts at the Royal Institution, three days ahead of the opening of Frieze London, Frieze Masters and 1-54 (4–7 October 2018). The event felt more like a press conference, with attendees seemingly...
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Ocula ConversationCristina Ricupero and Jörg HeiserCurators, Busan Biennale{{document.location.href}}
Divided We Stand, the tongue-in-cheek title of the 9th Busan Biennale (8 September–1 November 2018), speaks to the psychological effects of borders on individual and collective social consciousness. Co-curated by artistic directors Cristina Ricupero and Jörg Heiser, with guest curator Gahee Park, the exhibition explores the divisions haunting...
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Ocula ReportAnni Albers: In Focus6 Oct 2018 : Inga Lace for Ocula{{document.location.href}}
Walking through the Anni Albers exhibition at the K20, Kunstsammlung Nordrhein-Westfalen, in Düsseldorf this summer (9 June–9 September 2018), I couldn't help thinking about the 1944 poem by American dancer and artist Raymond Duncan, 'I Sing the Weaver'. The poem talks about weaving as a practice linking a weaver's body to the world; a view that...
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Nicola FarquharFollow

b. 1972, New Zealand

Nicola Farquhar (1972, Hamilton) graduated from Elam School of Fine Art’s MFA program in 2009. Recent exhibitions include: Discoveries, Art Basel Hong Kong (2014); Method and Gesture, Utopian Slumps, Melbourne (2013); New Revised Editon, City Gallery, Wellington (2013); and Porous Moonlight, Papakura Art Gallery (2013). In November 2015 Farquhar will participate in Necessary Distraction: A Painting Show at Auckland Art Gallery (curated by Natasha Conland).

Farquhar’s energetic paintings are complex terrains that map the materiality and biology of both the human form and the painted surface. Drawing on compositional conventions of traditional portraiture, patterning, and the abstract language of scientific diagrams (especially those that describe the movement and effects of light), Farquhar’s paintings are part formal studies in space, part sci-fi bodies, part chimerical landscapes.

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