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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Pedro Reyes has won international attention for large-scale projects that take existing social problems and imagine solutions for a happier world. His political stance, use of found materials and disavowal of the corporate mentality sets him in the wake of Arte Povera, most keenly so in his tackling of gun culture in Mexico. In Palas por Pistolas, 2008, Reyes worked with local authorities in Culiacán, Mexico, to melt down guns into shovels, intended to plant trees in cities elsewhere in the world. ‘I am on a crusade to come up with creative initiatives to disarm all these cities’, Reyes says (2013). Similarly for Disarm, 2013, the Mexican government passed over 6,700 confiscated firearms for Reyes to turn into mechanical musical instruments, which are automated to play a delightful, if surreal loop, retaining the raw emotion of their origination. Other works tackle first world problems through participatory techniques. Sanatorium, 2011, invites visitors to sign up for a ‘temporary clinic’, with the mission of treating various kinds of urban malaise. Therapies such as trust-building games and hypnosis are offered to combat common problems such as loneliness and stress. The conclusion to the Sanatorium manifesto inflects Reyes’s big ambition with a healthy sense of the absurd:

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Featured Artworks

Key by Pedro Reyes contemporary artwork Pedro ReyesKey, 2018 Tezontle stone
42 x 40 x 45 cm
Lisson Gallery
Interrogative by Pedro Reyes contemporary artwork Pedro ReyesInterrogative, 2017 Volcanic stone
70 x 40 x 55 cm
Lisson Gallery
Pneuma by Pedro Reyes contemporary artwork Pedro ReyesPneuma, 2017 Steel and concrete
152 x 100 x 29 cm
Lisson Gallery
Protester I by Pedro Reyes contemporary artwork Pedro ReyesProtester I, 2016 Steel and concrete
138.6 x 28 x 30 cm
Lisson Gallery
La Calaca by Pedro Reyes contemporary artwork Pedro ReyesLa Calaca, 2016 Carrara Marble
120 x 30 x 12 cm
Lisson Gallery
Socrates by Pedro Reyes contemporary artwork Pedro ReyesSocrates, 2016 Volcanic stone
80 x 46 x 40 cm
Lisson Gallery
Disarm (Cello III) by Pedro Reyes contemporary artwork Pedro ReyesDisarm (Cello III), 2016 Metal
150 x 52 x 15 cm
Lisson Gallery

Recent Exhibitions

Contemporary art exhibition, Pedro Reyes, Glyptotek at Lisson Gallery, London
Closed
2 March–21 April 2018 Pedro Reyes Glyptotek Lisson Gallery, Bell Street, London

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