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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Related Press

Moving Light, Roving Sight

Marybeth Stock Artasia Pacific 14 February 2015
Takaishi Ishida, Burning Chair, 2013, still from single-channel video: 5 min 8 sec. Courtesy the artist.

Ikkan Art Gallery is one of the few venues in Singapore to serve up a consistently fascinating brew of video and new-media art. Ikkan’s most recent exhibition, Moving Light, Roving Sight, features a canny mix of contemporary Japanese artists and collectives, whose works are juxtaposed with older pieces by Western media artists. The latter includes Jenny Holzer’s iconic TRUISMS (selections from 1977–79) (2013), a digitally animated collection of over 200 clichés and aphorisms taken from advertising and media. Holzer’s exploitation of language and its intent is as fascinating as it is mind-numbing, making it a worthy accompaniment to Teppei Kaneuji’s 2009 animated piece Tower (Movie). In the video, Kaneuji’s stolid, unmoving structure excretes repetitious, banal imagery and sound, including a bouncing ball, tedious taps and rustles, and oozing gels and fumes. Like Holzer’s discourse, Kaneuji’s babel is insidious—integral to his tower’s essence, yet continuously undermining it.

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