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Jess Johnson: Worlds Within Worlds Ocula Conversation Jess Johnson: Worlds Within Worlds

Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...

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Lagos Biennial 2019: Stories from Africa’s most Populous City Ocula Report Lagos Biennial 2019: Stories from Africa’s most Populous City 15 Nov 2019 : Jareh Das for Ocula

Under the artistic direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Ocula Insight

Clemens Krauss at Dominik Mersch Gallery, Sydney

24 November 2015
Clemens Krauss. Courtesy Dominik Mersch Gallery.
'Social collectives are constituted by physical human interactions: the interaction of bodies. Starting from the human body, friction(s) and predetermined breaking lines within social structures are the core interest of my current work. Fleeing, migrating, surviving, transgenerational transfer, distribution and the notions of balance and justice are objects of observation.

I try to stand the non-understanding and find a language for it. Current global political processes can be traumatic and the trauma itself is speechless.

As individuals we are inevitably repeating patterns, the question is, how a better repetition can be enabled. Artistic methods—or better interests—such as aestheticisation, exaggeration, opposition, critique, mediality and many more can allow to hit notches in the perception of a political reality, where the own work becomes important and help to grasp us as ‘strangers to ourselves".'

– Clemens Krauss


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