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Ocula ReportLa dotta, la rossa, la grassa: the 42nd Arte Fiera, Bologna15 Feb 2018 : Stephanie Bailey for Ocula{{document.location.href}}
Bologna is a city with many names. First, there is 'la dotta' (or 'the learned one') in honour of its university, the oldest in the western world (established in the 11th century), which counts Petrarch, Copernicus, Dante and, more recently, the cult (and controversial) Bologna-born filmmaker, Pier Paolo Pasolini, among its alumni. Its second...
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Ocula ConversationCory ArcangelArtist, USA{{document.location.href}}
Going through Cory Arcangel's website feels like riding across waves of digital archaeologies, where things endlessly fold and unfold. The site meticulously presents every aspect of Arcangel's practice, including detailed information about exhibitions and artworks for which the artist has become known. These include his 'game modifications' (or...
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Ocula ReportBeyond the Zone: the 5th Material Art Fair15 Feb 2018 : Robert Ayers for Ocula{{document.location.href}}
Now in its fifteenth year, Zona Maco México Arte Contemporáneo (7–11 February 2018) is rightly regarded as one of the more important events on the international art fair circuit. Without a doubt, it is the grande dame of Mexico City's early-February Art Week, claiming to be 'the epicentre of collecting in Latin America'. But this year, fairgoers...
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Sun Xun was born in China’s Fuxin Province, and majored in print making at China Academy of Fine Arts. He is working on various projects, including a film shoot, at Phi Animation Studio which he found in 2005. His films have been presented at Torino Film Festival and the Oberhausen Short Film Festival. He sketches the daily lives of Chinese people, moving a step away from the Cynical Realism or Political Pop the first and second Chinese artists had resorted to, and establishes a unique framework of a multi-angled inquiry within China’s contemporary art circle.

The piece presented in this exhibition, titled Some actions which haven't been defined yet in the revolution describes and objectively examines the lives of ordinary people who wade through the macroscopic paradigms of history and revolution, and the limitations of their cognition system. The artist reinterprets mediums used to produce ancient Buddhist scriptures and the political propaganda materials during the Cultural Revolution period from a contemporary perspective by aligning them with a visual temporality, presenting a series of images comprising wood prints. Sun Xun not only offers an in-depth observation of China’s history and society within the context of here and now, but also visualizes individual systems of cognition learned through the principle of power, fundamentally questioning structuralism.  

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