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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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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

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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