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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Roberto Cuoghi

b. 1973, Italy

Roberto Cuoghi was born in Modena, Italy in 1973, and lives and works in Milan. Cuoghi’s practice is unique: he has no direct influences, and his work doesn’t fit comfortably within any genre of art. His diverse series of works over the past two decades are united by a preoccupation with process: he develops new techniques and methodologies to execute every work with absolute creative control and the highest degree of craftsmanship. Each new series is vastly different than the last, and Cuoghi moves seamlessly from medium to medium, mastering form without being defined by any singular style.

Cuoghi’s practice lies somewhere in the crux of learning and obsession. His most renowned ‘performance’ began in 1998 when, at the age of 25, Cuoghi prematurely aged himself into an older man of 67 years, seeking to ‘become’ his father. Over the next 7 years, Cuoghi accelerated the appearance of his age rapidly and without the use of prosthetics–instead, he increased his weight to over 300 pounds, dyed his hair grey, grew a large beard, and developed chronic dark circles and eye bags. The portrayal had lasting effects–although he eventually reverted his appearance, the physical trauma would permanently damage his health. This prolific period was depicted in his film, The Goodgriefies (2000), which highlighted the complexities of Cuoghi’s new identity as an old man, interspersed with altered iconic cartoon characters–a dystopian blockbuster-style movie which gained him international attention. Cuoghi would reject the notion that this incredible feat can be defined simply as an artwork or performance; rather, it falls at the intersection between art and life, where time and perception, nature and technology, and history and myth collide to form new investigations into humanity.

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Featured Artworks

Ether en Flocons by Roberto Cuoghi contemporary artwork
Roberto CuoghiEther en Flocons, 2016–2018 Mixed media, agar-agar, gelatin
70 x 50 x 20 cm
Hauser & Wirth
SS(XXXVIP)c by Roberto Cuoghi contemporary artwork
Roberto CuoghiSS(XXXVIP)c, 2016 ceramic
9.45 x 18.11 x 17.72 inches
Lehmann Maupin
Senza Titolo (Untitled) by Roberto Cuoghi contemporary artwork
Roberto CuoghiSenza Titolo (Untitled), 2014 Mixed media
310 x 170 cm
Lehmann Maupin
Senza Titolo (Untitled) by Roberto Cuoghi contemporary artwork
Roberto CuoghiSenza Titolo (Untitled), 2014 White limestone of the Dolomites, red sand, and to be determined
Variable dimensions
Lehmann Maupin

Represented By

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Viva Arte Viva is a tautological title. Since a tautological statement is one that is necessarily true on the basis of its circular syntactical structure, it's logical to assume that Christine Macel, the curator of the 57th Venice Biennale, is asking us to believe that art is alive, and/or that we should all celebrate the celebration of art. Viva...

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57th Venice Biennale: Get to Know the Artists of the Must-See National Pavilions Related Press 57th Venice Biennale: Get to Know the Artists of the Must-See National Pavilions MutualArt : 10 May 2017

The most important global art event of the year is upon us, as thousands descend upon the slowly submerging islands in the Venetian Lagoon to view the microcosm of the art world that is the 57th Venice Biennale. In keeping with the theme of the exhibition by this year's curator, Christine Macel, Viva Arte Viva, in which she 'orientate[s] the...

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