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Taloi Havini: Reclaiming Space and History Latest Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Sydney Biennale Connects Here with Everywhere Latest Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

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HomePage Artists

b. 1978, Turkey

Yesim Akdeniz Biography

Yesim Akdeniz paints fictive landscapes and interiors sparsely populated with a considered selection of objects and figures that have been severed from their original or natural settings.  The participants depicted in the  foreground are an esoteric ensemble that span from actors to recognisable elements from the films of Pier Paolo Pasolini’s, from George Ivanovich Gurdjieff’s esoteric vision of the development of man to much more prosaic household objects. The paintings are not portrayals of reality nor do they tell a story in a linier fashion, instead, with juxtaposed elements arranged in the foreground, they are reminiscent of stills from a film set or theatrical production.

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Akdeniz’s use of visually distorted pictorial spaces, decontextualized subjects, a muted palette, and the prevalence of smooth and undetailed surfaces evokes the work of Italian proto-surrealist painter Giorgio De-Chirico.  Her subjects’ become symbols or reference points sown together to create a montage scene of references to contemporary culture. In Mr Jung and Me #1 [2014], a leopard, possibly stuffed possibly alive, balances on a log that is balanced on a table, while a partially concealed female peers at the viewer from behind a curtain. In Latent #1 [2013] two barely clothed women sit at a table in a cramped room, one slouched one upright but both looking directly at the viewer, while a conspicuously stiff and lifeless pair or legs protrude from behind them.  These enigmatic compositions of cryptic visual language are open to be deciphered by attentive viewers who can unpick their points of reference.

Akdeniz’s paintings are visually striking yet she describes herself as a conceptual painter due to the important role of analysis within her work as well as her creation of painting series that are interlinked by an underlying concept. By creating connections and associations through these juxtapositions and tracing connections between elements not normally connected, she creates moments of difficulty for her audience when understanding stops and thinking and knowledge meet a challenge.

Text courtesy Pi Artworks.

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