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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Frieze Week Lowdown: London Shows to See Ocula Report Frieze Week Lowdown: London Shows to See 20 Sep 2019 : Tessa Moldan for Ocula

London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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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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