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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Wang Gongxin

b. 1960, China

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'WHY NOT ASK AGAIN?': SHANGHAI BIENNALE ADDRESSES CONTEMPORARY SOCIAL ISSUES, WITH SPECTACLE AND GRACE

Barbara Pollack ARTNews First published on 18 January 2017

Georges Adéagbo, The revolution and the revolutions…!, 2016, found objects, artifacts, texts, paintings, magazines, Exhibition view. COURTESY THE ARTIST.

A case can be made that the Shanghai Biennale, widely regarded as a perfunctory affair, too disorganized and lackluster to justify its existence, now has the potential to intelligently introduce international contemporary art into a scene until recently dominated by Chinese art. And this year, that goal seems within reach, under the curatorial stewardship of Raqs Media Collective, three artists from India, who brought with them a host of Southeast Asian artists. Some 92 artists from 40 countries fill the cavernous galleries of the Power Station of Art, a reconfigured structure that opened as an art museum in 2012. The venue is a vast improvement over the biennale’s former locale—the old Shanghai Museum of Art, located in a colonialist building that was once the racecourse–clubhouse. Given its vastness, the challenge for curators was to fill the space without overwhelming and confusing viewers.

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