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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

Critic’s Guide: Hong Kong

Christie Lee Frieze First published on 21 March 2017

Su-Mei Tse, Gaëlle, 2015-17. Courtesy the artist and Edouard Malingue Gallery, Hong Kong.

Su-Mei Tse, Elegy, Edouard Malingue Gallery, 20 March–13 May.

As the title implies, Su-Mei Tse's latest exhibition has strong literary underpinnings. An elegy, a Greek metrical form used to commemorate the departed, is usually styled to mirror the three stages of loss: grief, admiration and solace. From Gaëlle (2015-17), a photograph of a trace of an armthat of a friend? A past lover?–to The Pond (2015), where a mulch of water lillies hangs ominously in murky water, the exhibition ruminates on loss, lapses of time, and how our experience of the latter could be shaped by the former.

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