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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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Sheena Macrae works the art of compression by playing with our societies' fascination with speed, entertainment, information and nostalgia. She manipulates the product of the cultural industries, takes possession of it and, twisting the principle of post-production, becomes a sort of VJ (Video-Jockey), somewhere between Christian Marclay and Douglas Gordon, appropriating and parodying standardised forms of narration, Hollywood clichés or economic constraints underlying all-powerful Entertainment. Through a series of procedures, the material of film, a real ready-made, is emptied of all narrative content and returned to its superficial essence.

"Sheena Macrae’s videos might best be described as ‘compressions’: her massive feats of editing remix films into miniature, yet unabridged sagas: Pulp Fiction reduced to exactly one minute, Gone With the Wind crunched from 3.5 hours down to commercial break size. Their effect is something like speed-reading: images fly by in rapid sequence, focussing on only the key elements of action... Like a drug or a diamond, a screen-size cosmos for the taking. Ergonomic, perfect, and larger than life." - Patricia Ellis, excerpt from Flatpack TV, 2005.

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