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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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'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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