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Cinga Samson: ‘a different conversation on representation’ Ocula Conversation Cinga Samson: ‘a different conversation on representation’ By Jareh Das, New York

Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...

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Dhaka Art Summit 2020: Seismic Movements Ocula Report Dhaka Art Summit 2020: Seismic Movements By Radha Mahendru, Dhaka

Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.

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Guo Hongwei on Seeing Patterns That Don’t Exist Ocula Insight Guo Hongwei on Seeing Patterns That Don’t Exist By Sherry Paik, New York

Guo Hongwei's recent watercolour paintings, showing at Chambers Fine Art in New York from 3 March, trigger pareidolia—the phenomenon of seeing random objects or patterns where they do not exist.

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HomePage Artists

b. 1979, Malaysia

Vincent Leong Biography

Vincent Leong was born in 1979 in Kuala Lumpur, Malaysia. He studied art at the Centre for Advanced Design in Kuala Lumpur (1998–2000) and earned a BFA from Goldsmiths College, University of London (2000–04), receiving the BT Goldsmiths Prize in digital media in 2004. In 2006, he was invited to participate in a workshop at the Asian Culture Creation Center in Gwangju, South Korea, and the resulting exhibition, Threshold 13, which traveled from Gwangju to Seoul. Leong also completed artist residencies at Sculpture Square, Singapore (2007) and Kognecho Bazaar, Yokohama, Japan (2009).

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Leong’s first solo exhibition, The Fake Show at Reka Art Space in Selangor, Malaysia (2006), was a Gordian knot of disguises and disavowals. Announced as a group exhibition curated by Leong, the nine artists featured were in fact fictional surrogates for Leong himself. As such, all of the works were ersatz. Mischievously referencing fellow contemporary Malaysian artists alongside everyday characters, Leong spun a web of allusion that addressed appropriation, originality, and authenticity in a world inundated by counterfeit brands, identities, and entertainments. Leong’s deft manipulation of signs and symbols is evident too in the video How to Be Bruce (2004), which was included in the video art exhibition 18 Reasons We Still Need Superman that traveled to numerous international locations (2010–12, organized by Beijing-based curator Tim Crowley). Retaining the audio from the fight sequence between Bruce Lee and Chuck Norris in the kung fu classic The Way of the Dragon (1972, dir. Bruce Lee), Leong replaced the film’s visual component with an abstract animation, diagramming Lee’s martial artistry via a series of dots and arrows, like the notations of a sports strategy. The icon is subsumed in a frenetic choreography of ciphers.

Turning to Malaysia’s multiethnic culture, whose history is marred by sectarian conflict, Leong’s video Run, Malaysia, Run (2007) captures a cavalcade of the country’s diverse citizens in colorful costumes denoting different ethnicities and religions. In a display typical of the artist’s acerbic humor, a rotating projector sets these personages running around in circles on the walls. Alternatively presented on a screen, they appear to be running in place. In the photography series Executive Properties (2012), Leong shoots from within abandoned buildings. Settings marked by crumbling infrastructure, severed wiring, and graffiti vandalism open onto spectacular views of Kuala Lumpur’s monuments, historic buildings, and contemporary skyscrapers, capturing the paradox of progress and the poetry of the modern ruin.

Leong’s work has been presented in solo exhibitions at Valentine Willie Fine Art, Kuala Lumpur (2007 and 2012), and Sculpture Square, Singapore (2007). The artist has also been featured in the following notable group exhibitions: 3 Young Contemporaries, Valentine Willie Fine Art, Kuala Lumpur (2005); The Power of Dreaming, Rimbun Dahan, Selangor (2005); 4 Young Contemporaries, Numthong Gallery, Bangkok (2007); Selamat Datang ke Malaysia, Gallery 4A, Sydney, and Valentine Willie Fine Art, Kuala Lumpur (2007); The Independence Project, Galeri Petronas, Kuala Lumpur (2007), and Gertrude Contemporary, Melbourne (2008); Some Rooms, Osage Gallery, Hong Kong (2009); Our Own Orbit, Tembi Contemporary, Jogya, Indonesia (2009); and Tanah Ayer: Malaysian Stories from the Land, Selasar Sunaryo Art Space, Bandung, Indonesia (2011). Leong lives and works in Kuala Lumpur.

Source: Solomon R. Guggenheim Museum, New York.

Vincent Leong In Ocula Magazine

S. Alice Mong Ocula Conversation S. Alice Mong

S. Alice Mong became the Executive Director of Asia Society Hong Kong Center in 2012. Prior to joining the Asia Society, Ms Mong worked for almost a decade in New York, where as Director of the Museum of Chinese in America (MOCA) she was responsible for transforming MOCA from a New York Chinatown institution to a leading national museum. Ms Mong...

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Richard Armstrong Ocula Conversation Richard Armstrong By Anna Dickie, Hong Kong

Richard Armstrong is the Director of the Solomon R. Guggenheim Museum and Foundation. As well as managing the foundation he oversees the Guggenheim Museum in New York as well as the Peggy Guggenheim collection in Venice, the Guggenheim Museum Bilbao, the Deutsche Guggenheim and the Guggenheim Abu Dhabi due for completion in 2017. Prior to this...

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June Yap Ocula Conversation June Yap

Launched in April 2012, the Guggenheim UBS MAP Global Art Initiative charts contemporary art in South and Southeast Asia, Latin America, and the Middle East and North Africa. No Country: Contemporary Art for South and Southeast Asia is the Initiative’s inaugural exhibition. Initially shown in New York, (22 February–22 May 2013), the...

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