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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Shooshie Sulaiman

b. 1973, Malaysia

Shooshie Sulaiman utilizes a wide array of artistic approaches, from two-dimensional works, site-specific installations, and performances to writing, and even creating spaces such as gallery and bookstore to encounter fresh experiences of art, suggesting that for her, artistic practice and life are inextricable. Born of mixed parentage, Malay and Chinese during the most critical era of Sino-Malaysian relations, Sulaiman’s journey and experience has often been fraught with contradiction. Many of her works are based on situation, experience, and process, as her journey of investigation in cultural and social configurations, or identity continues.

Sulaiman’s work in the 2007 ‘documenta 12’ exhibition in Germany, for example, comprised two small books that included notes, images and collaged elements, which were ‘performed’ by the artist as one-on-one readings and discussions with gallery visitors. A recent body of work, which was presented at APT6, featured an evocative wooden room filled with a series of photographic collages, created from discarded family portraits that the artist collected in Kuala Lumpur and Melaka (Malacca). The collages included texts, drawings and flower petals, investing the artist’s own imaginary set of relationships and narratives into the photographs.

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In Related Press

Shooshie Sulaiman: 'Malay Mawar' at Kadist, Paris Related Press Shooshie Sulaiman: 'Malay Mawar' at Kadist, Paris Mousse Magazine : 13 July 2016

The work of Malaysian artist Shooshie Sulaiman develops in various forms, from site-specific installations and outdoor performances, to a daily practice of writing and drawing.She started her artistic practice during the 1990’s, when Malaysia opened to the free market and became more international, not without psychological impact on its...

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A Traveling Exhibition That Confronts Xenophobia at Every Stop Related Press A Traveling Exhibition That Confronts Xenophobia at Every Stop Observer : 15 April 2015

“A Journal of the Plague Year” is being shown concurrently at the Kadist Art Foundation and the Lab from April 1 through May 9. The show features work from contemporary artists like Ai Weiwei, Dorothea Lange, Paul McCarthy, Lygia Pape, Raymond Pettibon, and ASCO, in addition to historic documents borrowed from the UC Berkeley Library,...

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Australian adds weight to Art Basel Encounter Related Press Australian adds weight to Art Basel Encounter Visual ArtsHub : 24 February 2015

There is a new encounter in Hong Kong, Australian curator Alexie Glass-Kantor, and her vision captures the zeitgeist of our region. A curated section within any art fair presents an interesting conversation, sitting somewhere between the commercial streams and a rigorous view of now. Encounters is slightly different in that it is dedicated to...

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