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Hito Steyerl: How To Build a Sustainable Art World Ocula Conversation Hito Steyerl: How To Build a Sustainable Art World

'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...

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Aichi to Okayama: Art in Japan Looks to the Future Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula

There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Related Press

'Made in L.A. 2016: a, the, though, only' at the Hammer Museum, Los Angeles

Andrew Berarrdini Art Agenda First published on 22 July 2016
View of works by Sterling Ruby, a, the, though, only, Made in L.A. 2016, Hammer Museum, Los Angeles, 2016.

In LA, everyone’s Marlon Brando’s gardener. Cruising through a city sold and resold as a promised land, we’ve nothing to guide us but our passions for prosperity, for fame, for space, for spirit. All of us here somehow find a place in the end, even if it’s only as workers in others’ gardens, Edens owned by those that cast our dreams in moving pictures and the developers that sell or rent us our own smallest bite of paradise.

Made in L.A. 2016 is almost explicitly not about Los Angeles, though the city’s still the set.

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