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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Ocula Insight

Frieze Sculpture 2019: See the Contemporary Art in London’s Regent's Park

Ocula IGTV 13 August 2019

For three months, Frieze Sculpture (3 July–6 October) transforms Regent's Park, London, into an open gallery with sculptures by artists from all over the world. This year's edition is again curated by Clare Lilley, director of programme at Yorkshire Sculpture Park since 1992 and curator of Frieze Sculpture since 2012. This video, created for Ocula's IGTV, takes a close look at eight of the selected works featured in the park.

Leiko Ikemura, Usagi Kannon II (2013–2018). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Kewenig Gallery, Stephen White/Frieze. Photo: Stephen White.

Leiko Ikemura, Usagi Kannon II (2013–2018)

The first stop is Japanese-Swiss artist Leiko Ikemura's Usagi Kannon II (2013–2018), which is concerned with the human experience. The patinated bronze sculpture portrays a hybrid figure: a human with rabbit ears, dressed in a bell-shaped skirt. Created in response to the Fukushima nuclear disaster of 2011 and the ensuing birth defects, the work makes a protective gesture by depicting an open space in the figure's skirt.

Robert Indiana, ONE through ZERO (1980–2002). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Waddington Custot, Stephen White/Frieze. Photo: Stephen White.

Robert Indiana, ONE through ZERO (1980–2002)

Usagi Kannon II is followed by American artist Robert Indiana's ONE through ZERO (1980–2002), which consists of ten corten steel sculptures of the Arabic numerals, arranged in an arc. Indiana, a seminal figure in the development of American assemblage art and Pop art, started working with numbers in the 1960s. He was drawn to them from his personal experiences of moving multiple times as a child, as well as for their widespread use towards a variety of meanings.

Barry Flanagan, Composition (2008). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Waddington Custot, Stephen White/Frieze. Photo: Stephen White.

Barry Flanagan, Composition (2008)

Barry Flanagan's bronze sculpture Composition (2008) offers a humorous tone, showing the British artist's iconic long-limbed hare dancing on a cylindrical plinth that is supported by three elephants. Flanagan, who became known for his conceptual and post-Minimalist works in the 1960s and 1970s, turned to figurative sculpture—often associated with the hare, but also animals such as horses and elephants—in the late 1970s.

Iván Argote, Bridges (We are melting) (2019). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Perrotin, Stephen White/Frieze. Photo: Stephen White.

Iván Argote, Bridges (We are melting) (2019)

Columbian-born and Paris-based artist Iván Argote's Bridges (We are melting) (2019) is a new work created for this event. Consisting of three steel-and-concrete bridges with poems engraved on their surface, it takes the motif of the bridge as a metaphor for the connections between people.

Ghazaleh Avarzamani, Strange Temporalities (2019). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Ab-Anbar, Stephen White/Frieze. Photo: Stephen White.

Ghazaleh Avarzamani, Strange Temporalities (2019)

By contrast, the playground slide in Iranian artist Ghazaleh Avarzamani's Strange Temporalities (2019) is inaccessible, having been deconstructed and its pieces mounted on metal armature. Avarzamani considers the playground as a symbol loaded with cultural codes, where the safe environment for play becomes reflective of the problems of educational systems.

Zak Ové, Autonomous Morris (2018). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Lawrie Shabibi, Stephen White/Frieze. Photo: Stephen White.

Zak Ové, Autonomous Morris (2018)

British-Trinidadian artist Zak Ové similarly takes the universal icon of the automobile in Autonomous Morris (2018), a roughly three-metre-tall sculpture constructed from decommissioned car parts. The work, which evokes a gigantic metal head or mask, is a continuation of Ové's mask sculptures, which are inspired by the masking rituals of the Trinidadian Carnival—in the 19th century, freed African slaves deployed masks, music, and dance during Carnival as a form of resistance and a means to connect among themselves.

Tracey Emin, When I Sleep (2018). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy White Cube, Stephen White/Frieze. Photo: Stephen White.

Tracey Emin, When I Sleep (2018)

Tracey Emin—A member of the Young British Artists, who garnered critical attention for their often provocative works in Britain in the late 1980s—presents When I Sleep (2018), a four-metre bronze sculpture of a figure lying on its side. While less shocking than the works she's most known for, Emin's recent creation is no less candid, charged with a deeply touching and introspective mien.

Jaume Plensa, Laura Asia's Dream (2018). Exhibition view: Frieze Sculpture, Regent's Park, London (3 July–6 October 2019). Courtesy Galerie Lelong & Co., Stephen White/Frieze. Photo: Stephen White.

Jaume Plensa, Laura Asia's Dream (2018)

Another work that evokes a sense of the personal and meditative is Laura Asia's Dream (2018), a bronze sculpture, slightly over two metres, by Spanish artist Jaume Plensa. Depicting the face of a young girl, eyes closed as if dreaming, it is an example of Plensa's characteristic sculptures featuring oversized human faces and bodies, their proportions elongated using 3D modelling.—[O]

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