Ocula MagazineContentsView All
Featured ContentView All
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 .

Fade out copy.
Read More
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.'

Fade out copy.
Read More
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 .

Fade out copy.
Read More
HomePage

Over 2,000 artworks are being uploaded to Art Basel Hong Kong's Online Viewing Rooms, which open to VIPs from 18–19 March, and to the public from 20–25 March. In constant correspondence with galleries, Ocula's Art Advisory team selects the best works to seek out at artbasel.com/viewing-rooms.

Walter Price, You wouldn't expect something so transparent to block the heat so well (2018). Acrylic and glitter on canvas. 219.1 x 200.7 x 3.2 cm. Courtesy Greene Naftali, New York.

Walter Price at Greene Naftali

Walter Price is a young painter based in New York who was included in last year's Whitney Biennial. Although figurative in part, this painting reminds me of Howard Hodgkin's abstract paintings that have the power to invoke vivid sensations or memories through the use of colour and pattern. He is showing at Art Basel Hong Kong's (ABHK) Online Viewing Rooms with Greene Naftali, New York.

Pipilotti Rist, Water Treasure (Black Light) (2019). Monitor, player and alamar ice. Courtesy Hauser & Wirth, London, New York, Los Angeles, Zurich, Somerset.

Pipilotti Rist at Hauser & Wirth

Showing at Hauser & Wirth is this visceral, almost hallucinogenic work by Pipilotti Rist. The artist transforms a monitor screen into a living sculptural object clad in a web of bright alamar ice tubing.

Rivane Neuenschwander, Tropics: Damned, Orgasmic and Devoted 10 (2020). Acrylic on wood panel. Courtesy Tanya Bonakdar Gallery, New York.

Rivane Neuenschwander at Tanya Bonakdar Gallery

Rivane Neuenschwander is a Brazilian artist whose multi-disciplinary practice often incorporates installation and simple, everyday materials. This painting, showing with Tanya Bonakdar Gallery, New York, unearths the chaos within nature, joyfully depicting abstract forms of colour intermingled with plant forms, animals, and more specific anatomy.

Robert Rauschenberg, Rice Wine Dog, Tuak Hudok-Iban (ROCI Malaysia) (1990). Silkscreen ink, gold leaf and fabric on plywood. Courtesy Galerie Thaddaeus Ropac, Paris, London, Salzburg.

Robert Rauschenberg at Galerie Thaddaeus Ropac

Robert Rauschenberg's late collages often combine fabric patterns with silkscreens, found images, and other materials in a beautifully subtle, layered manner. This 1990 work, presented by Galerie Thaddaeus Ropac, stands out due to an unusually bright palette and luscious, shiny textures.

Rudolf Stingel, Untitled (2019). Oil and enamel on canvas. 125.8 x 100 x 7 cm. Courtesy Sadie Coles HQ, London.

Rudolf Stingel at Sadie Coles HQ

This work presented by Sadie Coles HQ is a beautiful recent instruction painting by Rudolf Stingel, emanating from the series in which he uses a specific technique combining oil and enamel with a cloth. In 1989, Stingel produced an instruction manual explaining how he made these paintings, questioning ideas around authorship, abstraction, and what constitutes a painting.

John Chamberlain, Continuous Entanglement (2001). Painted and stainless steel. 48.3 x 58.4 x 38.1 cm. Courtesy Hauser & Wirth, London, New York, Los Angeles, Hong Kong, Zurich, Somerset.

John Chamberlain at Hauser & Wirth

Another piece showing at Hauser & Wirth's ABHK Online Viewing Rooms is this small but perfect John Chamberlain sculpture, possessing all of the energy and fragility of his best works. Discarded steel is transformed into a vigorous gesture more commonly associated with Abstract Expressionist painting, although Chamberlain achieves this in a three-dimensional space. —[O]

Sign up to be notified when new articles like this one are published in Ocula Magazine.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook