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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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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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