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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
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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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Teng Nee Cheong

b. 1951, Singapore

Born and based in Singapore, the art of Teng Nee Cheong is known for its colour and exotica. The artist admits to being influenced by Asian mural paintings and Persian miniatures, especially the stylization of botanic.

Teng’s bright colours are specifically chosen and juxtaposed for maximum effect. They are more than a mere means to an end. “My colours are getting not only more intense, but darker and heavier.” He observes that “during a full moon, the shadows of trees and plants take on a new and very different character .”
Unusual compositional elements accentuate the desired aesthetic. For example, a vase barely fits into the top of a painting in order to fully show the traditional cloth that lies underneath. Objects appear to defy gravity. The focus in his paintings thus turns towards structure and colour.

The exuberance of Teng’s paintings seems to be so different from the soft-spoken and rather shy artist that he is “Someone once commented that my paintings are so happy. Although the implication is that I did not seem to be a happy person,” he remembers. ‘ I don’t want to paint sad things , at least not for now.” 

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