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Ocula ReportIranian Art at LACMA: In the Fields of Empty Days12 Jun 2018 : Perwana Nazif for Ocula{{document.location.href}}
In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art at the Los Angeles County Museum of Art (LACMA, 6 May–9 September 2018), explores 'the continuous and inescapable presence of the past in Iranian society.' Curated by Linda Komaroff, curator of Islamic art and head of LACMA's Art of the Middle East department, the...
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Ocula ConversationLaure Prouvost{{document.location.href}}
Laure Prouvost's most recent exhibition in New York at Lisson Gallery (9 March–14 April 2018) was a gesamtkunstwerk of sorts. The show spread through the entire 10th Avenue gallery space and included two years of artistic production: installation, sculpture, painting, textile, sound and moving image. Uncle's Travel Agency Franchise, Deep Travel...
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Ocula ReportDak’Art Biennale 2018: The Red Hour1 Jun 2018 : Federica Bueti for Ocula{{document.location.href}}
On my last evening in Dakar, I made my way to Yarakh, a neighbourhood on the eastern side of the Senegalese capital, where I was guided down a narrow sandy path toward a beach where a group of actors, artists, and locals were taking part in or attending the performance Xeex Bi Du Jeex (a luta continua). The play was written collaboratively in 2018...
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Qin Yufen was born in 1954 in Shandong Province. She began to create abstract art in the late 1970s. In the mid-1980s, she moved to Germany where she was influenced by Western painting. Her works from this period used both Western and traditional Chinese ink painting techniques, while still depicting Oriental aesthetics of tranquility and ethereality embodied by Zen meditation.

Since the mid-1980s, Qin has mainly engaged in the creation of installation and land art. Her works often integrate visuals, audio, and symbols of Chinese traditions, as well as modern elements. Qin’s concepts are implied in the poetic atmosphere, as she uses her unique feminine way of expressing the individual aesthetics of self-examination and contemplation. Her works like Silent Wind display a picture of harmony and pure sense of religion. Apart from the static form of the object’s beauty, e.g. the fans arranged in accordance, Silent Wind also lead the audience into its aesthetic space with the wind of the fans to experience the connection between "God and the physical world".

Qin Yufen has held solo exhibitions in Beijing, Tokyo, and Berlin, among other international cities. She has participated in several group exhibitions including Left Hand, Right Hand: A Sino-German Exhibition of Contemporary Art (2003), Beijing; The Wall: Reshaping Contemporary Chinese Art (2005), New York; The First Today's Documents 2007- Energy: Spirit, Body, Material (2007) in Beijing Today Art Museum,and Wu Ming, Form is Formless: Chinese Contemporary Abstract Art (2011), Contrasts Gallery (now Pearl Lam Fine Art), Shanghai.

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