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Almine Rech-Picasso Goes Global Ocula Conversation Almine Rech-Picasso Goes Global

French gallerist Almine Rech-Picasso opened her first space in Asia on Shanghai's historic Bund in July this year, bringing her eponymous gallery's total locations to five. The Shanghai gallery occupies roughly 4,000 square feet on the second floor of the three-storey Amber Building, a beautiful warehouse space, originally occupied by the Central...

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From the Gallery to the Streets: Home Works 8 in Beirut Ocula Report From the Gallery to the Streets: Home Works 8 in Beirut 8 Nov 2019 : Nat Muller for Ocula

There's an inside joke amongst the team of Ashkal Alwan, The Lebanese Association for Plastic Arts: that every time an edition of its biennial forum on cultural practices is planned, a national crisis happens. The eighth edition of Home Works was no different: it opened on 17 October amidst the most devastating wildfires that Lebanon had witnessed...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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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

The weird, wondrous, and worldly art visions of LA

Matt Stromberg Hyperallergic First published on 19 August 2016
Work by Huguette Caland. Photo: Matt Stromberg / Hyperallergic.

What does it mean to be an LA artist? This is the question that curators Aram Moshayedi and Hamza Walker came up against when organizing the Hammer Museum’s third Los Angeles Biennial, Made in LA 2016. Instead of trying to determine a decisive set of regional characteristics, they hewed closely to the show’s title, the only requirement being that the work was made in LA (and sometimes not even that is true).

Rather than attempt a comprehensive overview of contemporary art in LA, the curators selected only 26 artists or collectives this year, down from 35 in 2014 and a whopping 60 in 2012. In doing so, they were able to present a greater selection of work by each artist, offering the opportunity to explore their oeuvres in greater depth than if only one or two works by each were on view. “We’ve given the artists enormous space,” said Hammer Museum Director Ann Philbin. “It’s like 26 different shows.”

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