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Ocula ReportYinchuan Biennale: 'Starting from the Desert. Ecologies on the Edge'19 Jul 2018 : Tessa Moldan for Ocula{{document.location.href}}
Hovering above sprinkler-coaxed beds of grass, the curved architecture of MOCA Yinchuan alludes to the topography of its more natural, flanking geographies: the desert and the marshland, divided by the Yellow River in China's northwestern Ningxia province. Between sand and water, it is the desert that Marco Scotini, curator of the 2nd Yinchuan...
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Ocula ConversationSun Xun{{document.location.href}}
Born in 1980 in Fuxin, China, to a factory-worker and military family, Sun Xun's father advised him to avoid politics. He was encouraged by his family to move to Hangzhou at the age of 16 to pursue his studies as an artist at a high school affiliated with the China Academy of Fine Arts. It was at CAFA that the artist honed his aesthetic and...
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Ocula ReportMade in L.A. 2018 at the Hammer Museum12 Jul 2018 : Perwana Nazif for Ocula{{document.location.href}}
For its fourth iteration of Made in L.A.—the Hammer Museum's biennial exhibition exclusively showing works by Los Angeles-based artists—curator Anne Ellegood and assistant curator Erin Christovale assert that there is no theme. Hence, the title: Made in L.A. 2018. The exhibition, which runs from 3 June to 2 September 2018, includes a...
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"To maintain a healthy balance of the body, I started a routine three years ago: taking medicine every day, having periodic checks, adjusting the amount of medicine, attending the clinic and getting the report. “Taking medicine” and “getting report”, one is the process and the other is the result, but sometimes the nature of these two can be exchanged. Maybe it is the change of the body conditions that led to my sensitivity to things. “Fei Yi (Composition)” comes from an idiom in The Book of Songs. Lesser Odes “Che ma zhi mei, Fei fei yi yi”, which describes the march of horses and carriages being stately and in order. This corresponds to the artistry that I have always been pursuing: each thing exists in its own status in an entirety and moves with the same rhythm. It seems that those small dots, thin lines, faint color differences and materials themselves are all organically functioning in the entirety, difficult to be discovered. They seem neat, peaceful and indistinctive.

My understanding of “space” is no longer just grassland or a room. It is more likely to be the two ends of some sort of extreme, which are continuously developing towards their respective directions. The works prepared for the exhibition are stage-representative. From the conversion of space and object, the discussion of the balance relationship of placing objects, to the exploration on the sensitive points of the materials themselves, the continuation and extension of creation is a kind of process that ceaselessly penetrates into the essence. A second, a day, a year, a day, a second-from fast to slow and then to fast again, moving in circles; I hope the rhythm of your observation is the same as the rhythm immersed in my work."

Qian Jiahua

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