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Ocula ReportLa dotta, la rossa, la grassa: the 42nd Arte Fiera, Bologna15 Feb 2018 : Stephanie Bailey for Ocula{{document.location.href}}
Bologna is a city with many names. First, there is 'la dotta' (or 'the learned one') in honour of its university, the oldest in the western world (established in the 11th century), which counts Petrarch, Copernicus, Dante and, more recently, the cult (and controversial) Bologna-born filmmaker, Pier Paolo Pasolini, among its alumni. Its second...
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Ocula ConversationCory ArcangelArtist, USA{{document.location.href}}
Going through Cory Arcangel's website feels like riding across waves of digital archaeologies, where things endlessly fold and unfold. The site meticulously presents every aspect of Arcangel's practice, including detailed information about exhibitions and artworks for which the artist has become known. These include his 'game modifications' (or...
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Ocula ReportBeyond the Zone: the 5th Material Art Fair15 Feb 2018 : Robert Ayers for Ocula{{document.location.href}}
Now in its fifteenth year, Zona Maco México Arte Contemporáneo (7–11 February 2018) is rightly regarded as one of the more important events on the international art fair circuit. Without a doubt, it is the grande dame of Mexico City's early-February Art Week, claiming to be 'the epicentre of collecting in Latin America'. But this year, fairgoers...
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News & Views

Interview with Kaari Upson

Josh Lucas Interview Magazine First published on 19 April 2017

Kaari Upson. Photo: Hans Neumann.

Doubles. Replicas. Restagings. Familial stand-ins. Identity swaps. Hypersexualized alter egos. Obsessive repetitions. Regression, decay, and loss. Although still early in her career, Kaari Upson may very well be the great unheralded American artist the way Patricia Highsmith, in her time, proved to be the great unheralded American novelist. Upson and Highsmith, in different ways and to extremely different ends, both capture the dark, disturbing psychologies behind the national pastime of self-invention and reinvention, and they both trace the ever-shifting line between public and private desires.

READ MORE ON interviewmagazine.com

 

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