Ocula Feature ‘An Opera for Animals’ at Rockbund Art Museum By Penny Liu, Shanghai Ocula Editor, China, Penny Liu reviews An Opera for Animals at Rockbund Art Museum in Shanghai (22 June–25 August 2019), a group exhibition—first shown at Para Site in Hong Kong—that explores opera as a metaphor for modes of contemporary, cross-disciplinary art-making.
Ocula Conversation Patrizia Sandretto Re Rebaudengo By Stephanie Bailey, Turin Fondazione Sandretto Re Rebaudengo in Guarene and Turin, together with the Madrid Fundación, are creating a new constellation; mapping out a new geography that concretely embodies an idea of Europe based on reciprocity—between places, communities, fields of knowledge and cultures.
Ocula Conversation Moe Satt By Sam Gaskin, Yangon, Myanmar Sitting outside a Yangon restaurant—having first picked out a selection of dishes drenched in oil, Chinese canteen-style—I interviewed Myanmar artist Moe Satt. We had just come from his home studio, a sixth-floor walk up, on a visit in anticipation of the Hugo Boss Asia Art Award 2015, which was announced at the Rockbund Art Museum...
Ocula Conversation Larys Frogier By Laura Thomson, Shanghai Larys Frogier, curator, critic and art historian is Director of the Rockbund Art Museum (RAM) in Shanghai. He is also the Founder and Chair of HUGO BOSS ASIA ART Award for Emerging Asian Artists. Since opening in 2010, RAM has forged a unique position within China’s burgeoning contemporary art scene. Notably for presenting exhibitions by...
Ocula Feature Ten Private Museums in China You Should Know By Sam Gaskin, Shanghai China is building contemporary art museums at an unrivalled pace. Private companies and individuals increasingly have not only the means to establish these museums but also the know-how to keep them going, often to a higher standard than China’s public institutions. This report lists ten of the best private art museums in China (in no...
Ocula Conversation Mark Bradford By Sam Gaskin, Shanghai The social context in which I make my work—-including the story of the materials, which are not scavenged or found—-is all part of a larger picture, which fundamentally drives my practice.
