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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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Sydney Lowdown: Exhibitions to See Ocula Report Sydney Lowdown: Exhibitions to See 6 Sep 2019 : Elyse Goldfinch for Ocula

The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...

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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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Selected Photos From The 20th Biennale of Sydney

Bharti Kher, 'Six Women', 2013–15. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and Hauser & Wirth, London and Zurich. Photograph: Leïla Joy.
Boris Charmatz, 'manger', 2014. Courtesy the artist. Photograph: Zan Wimberley.
Camille Henrot, 'Dependent Personality Disorder 2', 2015. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist; Metro Pictures, New York; and kamel mennour, Paris. Collection of Lisa and Danny Goldberg. Photograph: Leïla Joy.
Camille Henrot, 'Dependent Personality Disorder 2', 2015. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist; Metro Pictures, New York; and kamel mennour, Paris. Collection of Lisa and Danny Goldberg. Photograph: Leïla Joy.
Camille Henrot, 'Dependent Personality Disorder 2', 2015. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist; Metro Pictures, New York; and kamel mennour, Paris. Collection of Lisa and Danny Goldberg. Photograph: Leïla Joy.
Cecile B. Evans, 'Preamble', 2016. Courtesy the artist and Barbara Seiler, Zürich. Photographer: Leila Joy.
Chen Chieh-jen, 'The Bianwen Book I', 2002–14. Courtesy the artist and Lin & Lin Gallery, Taipei. Photographer: Ben Symons.
Chen Chieh-jen, 'The Bianwen Book I', 2002–14. Courtesy the artist and Lin & Lin Gallery, Taipei. Photographer: Ben Symons.
Christoph Schlingensief The African Twintowers, 2005–07. Courtesy the Estate of Christoph Schlingensief and Hauser & Wirth, London and Zurich. Photograph: Leïla Joy.
Don't Follow The Wind, 'A Walk in Fukushima', 2016. Courtesy the artists and Don’t Follow the Wind. Photographer: Leila Joy.
Don't Follow The Wind, 'A Walk in Fukushima', 2016. Courtesy the artists and Don’t Follow the Wind. Photographer: Leila Joy.
Jumana Manna, 'White Elbow', 2015. Courtesy the artist and CRG Gallery, New York. Photograph: Leïla Joy.
Jumana Manna, 'White Elbow', 2015. Courtesy the artist and CRG Gallery, New York. Photograph: Leïla Joy.
Karen Mirza and Brad Butler, 'The Ectoplasm of Neoliberalism,' 2015. Courtesy the artists and waterside contemporary, London. Photographer: Leila Joy.
Karen Mirza and Brad Butler, 'The Ectoplasm of Neoliberalism,' 2015. Courtesy the artists and waterside contemporary, London. Photographer: Leila Joy.
Karen Mirza and Brad Butler, 'The Ectoplasm of Neoliberalism,' 2015. Courtesy the artists and waterside contemporary, London. Photographer: Leila Joy.
Karen Mirza and Brad Butler, 'The Ectoplasm of Neoliberalism,' 2015. Courtesy the artists and waterside contemporary, London. Photographer: Leila Joy.
Keg de Souza, 'We Built This City', 2016. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist. Photograph: Leïla Joy.
Keg de Souza, 'We Built This City', 2016. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist. Photograph: Leïla Joy.
Keg de Souza, 'We Built This City', 2016. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist. Photograph: Leïla Joy.
Keg de Souza, 'We Built This City', 2016. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist. Photograph: Leïla Joy.
Keg de Souza, 'We Built This City', 2016. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist. Photograph: Leïla Joy.
Ken Thaiday Snr, 'Beizam', 2001. Courtesy the artist. Collection of Cairns Regional Gallery. Photograph: Leïla Joy.
Ken Thaiday Snr, 'Beizam', 2001. Courtesy the artist. Collection of Cairns Regional Gallery. Photograph: Leïla Joy.
Ken Thaiday Snr, 'Beizam', 2001. Courtesy the artist. Collection of Cairns Regional Gallery. Photograph: Leïla Joy.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015–16. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. Photographer: Ben Symons.
Lee Mingwei, 'Guernica in Sand', 2006 and 2015, mixed-media interactive installation, sand, wooden island, lighting, 1300 x 643 cm. Courtesy of JUT Museum Pre-Opening Office, Taipei. Photograph: Taipei Fine Arts Museum, Taipei.
Lee Mingwei, 'Guernica in Sand', 2006 and 2015, mixed-media interactive installation, sand, wooden island, lighting, 1300 x 643 cm. Courtesy of JUT Museum Pre-Opening Office, Taipei. Photograph: Taipei Fine Arts Museum, Taipei.
Melik Ohanian, 'Shell', 2014.Courtesy the artist and Galerie Chantal Crousel, Paris. Photograph: Leïla Joy.
Melik Ohanian, 'Shell', 2014.Courtesy the artist and Galerie Chantal Crousel, Paris. Photograph: Leïla Joy.
Mella Jaarsma, 'Dogwalk', 2015–16. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and ARNDT Fine Art. Photograph: Leïla Joy.
Mella Jaarsma, 'Dogwalk', 2015–16. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and ARNDT Fine Art. Photograph: Leïla Joy.
Mella Jaarsma, 'Dogwalk', 2015–16. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and ARNDT Fine Art. Photograph: Leïla Joy.
Mella Jaarsma, 'Dogwalk', 2015–16. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and ARNDT Fine Art. Photograph: Leïla Joy.
Mella Jaarsma, 'Dogwalk', 2015–16. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and ARNDT Fine Art. Photograph: Leïla Joy.
Ming Wong, 'Windows on the world (Part 2)', 2014. Courtesy the artist and Vitamin Creative Space, Beijing. Photograph: Ben Symons.
Minouk Lim, 'Strange Fruit', 2016 mixed-media installation dimensions variable Courtesy the artist Created for the 20th Biennale of Sydney, Photograph_ Leïla Joy
Minouk Lim, 'Strange Fruit', 2016. Courtesy the artist. Photograph: Leïla Joy.
Minouk Lim, 'Strange Fruit', 2016. Courtesy the artist. Photograph: Leïla Joy.
Minouk Lim, 'Strange Fruit', 2016. Courtesy the artist. Photograph: Leïla Joy.
Minouk Lim, 'Strange Fruit', 2016. Courtesy the artist. Photograph: Leïla Joy.
Mortuary Station, Photograph_ Leïla Joy
Neha Choksi in collaboration with Alice Cummins, 'In Memory of the Last Sunset', 2016. Courtesy the artist and Project 88, Mumbai. Photographer: Leïla Joy.
Neha Choksi in collaboration with Alice Cummins, 'In Memory of the Last Sunset', 2016. Courtesy the artist and Project 88, Mumbai. Photographer: Leïla Joy.
Nilbar Gureş, 'Open Phone Booth', 2011. Installation view of the 20th Biennale of Sydney (2016). Courtesy the artist and Rampa Gallery, Istanbul. Photograph: Leïla Joy.
Ricardo Basbaum, 'diagram (the future of disappearance)', 2016. Courtesy the artist. Photograph: Ben Symons.
Ricardo Basbaum, 'diagram (the future of disappearance)', 2016. Courtesy the artist. Photograph: Ben Symons.
Yannick Dauby and Wan-Shuen Tsai, 'Recollecting Nankeng, Hsinchu County, Taiwan', 2009. Project by Yannick Dauby and Wan-Shuen Tsai and the community of Nankeng. Photograph: Yannick Dauby and Wan-Shuen Tsai.
Adam Linder, 'Some Proximity', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Silberkuppe, Berlin. Photograph: Leïla Joy.
Adam Linder, 'Some Proximity', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Silberkuppe, Berlin. Photograph: Leïla Joy.
Adam Linder, 'Some Proximity', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Silberkuppe, Berlin. Photograph: Leïla Joy.
Adam Linder, 'Some Proximity', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Silberkuppe, Berlin. Photograph: Leïla Joy.
Alexis Teplin, 'Arch (The Politics of Fragmentation)', 2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist; Mary Mary, Glasgow; and Gavlak, Los Angeles/Palm Beach. Photograph: Leïla Joy.
Alexis Teplin, 'Arch (The Politics of Fragmentation)', 2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist; Mary Mary, Glasgow; and Gavlak, Los Angeles/Palm Beach. Photograph: Leïla Joy.
Bernardo Ortiz, 'Untitled', 2016. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist and Galería Casas Riegner, Bogotá. Photograph: Leïla Joy.
Brown Council, 'Making History', 2016. Regular performance and installation at 86 George Street, Redfern, Sydney. Courtesy the artists. Photographer: Leila Joy.
Brown Council, 'Making History', 2016. Regular performance and installation at 86 George Street, Redfern, Sydney. Courtesy the artists. Photographer: Leila Joy.
Brown Council, 'Making History', 2016. Regular performance and installation at 86 George Street, Redfern, Sydney. Courtesy the artists. Photographer: Leila Joy.
Cecile B. Evans, 'Hyperlinks or It Didn't Happen', 2014. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist and Barbara Seiler, Zürich. Supported by the Arts Council of England. Photograph: Ben Symons.
Celine Condorelli, 'Structure for Communicating with Wind', from the series ‘Additionals’, 2012–13/2016. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist. Photographer: Ben Symons.
Celine Condorelli, 'Structure for Communicating with Wind', from the series ‘Additionals’, 2012–13/2016. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist. Photographer: Ben Symons.
Celine Condorelli, 'Structure for Communicating with Wind', from the series ‘Additionals’, 2012–13/2016. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Charwei Tsai, 'Spiral Incense – Hundred Syllable Mantra', 2016. Installation view of the 20th Biennale of Sydney (2016) at Mortuary Station. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Chiharu Shiota, 'Conscious Sleep', 2009/2016. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Dane Mitchell, 'Remedy for Agoraphobia, Ataxia, Anxiety (AgNO3)', 2016. Installation view at the Royal Botanic Garden Sydney. Courtesy the artist; Hopkinson Mossman, Auckland; and RaebervonStenglin, Zürich. Photograph: Ben Symons.
Dane Mitchell, 'Remedy for Agoraphobia, Ataxia, Anxiety (AgNO3)', 2016. Installation view at the Royal Botanic Garden Sydney. Courtesy the artist; Hopkinson Mossman, Auckland; and RaebervonStenglin, Zürich. Photograph: Ben Symons.
Daniel Boyd, 'What Remains', 2016. Installation view of the 20th Biennale of Sydney (2016) at Redfern Wall. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney; and Station Gallery, Melbourne. Photographer: Ben Symons.
Daniel Boyd, 'What Remains', 2016. Installation view of the 20th Biennale of Sydney (2016) at Redfern Wall. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney; and Station Gallery, Melbourne. Photographer: Ben Symons.
Daniel Boyd, 'What Remains', 2016. Installation view of the 20th Biennale of Sydney (2016) at Redfern Wall. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney; and Station Gallery, Melbourne. Photographer: Ben Symons.
Dayanita Singh, 'Suitcase Museum', 2015. Installation view (2016) at the MCA, Sydney for the 20th Biennale of Sydney. Courtesy the artist and Frith Street Gallery, London. Photograph: Ben Symons.
Emma McNally, 'Choral Fields 1–12,' 2014-16. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist. Photograph: Ben Symons.
Emma McNally, 'Choral Fields 1–12,' 2014-16. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist. Photograph: Ben Symons.
Emma McNally, 'Choral Fields 1–12,' 2014-16. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist. Photograph: Ben Symons.
Emma McNally, 'Choral Fields 1–12,' 2014-16. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist. Photograph: Ben Symons.
Erub Arts Solwata, 2015–16. Installation view (2016) at the AGNSW for the 20th Biennale of Sydney. Courtesy the artists and ReDot Fine Art Gallery, Singapore. Photograph: Ben Symons.
Erub Arts Solwata, 2015–16. Installation view (2016) at the AGNSW for the 20th Biennale of Sydney. Courtesy the artists and ReDot Fine Art Gallery, Singapore. Photograph: Ben Symons.
Erub Arts Solwata, 2015–16. Installation view (2016) at the AGNSW for the 20th Biennale of Sydney. Courtesy the artists and ReDot Fine Art Gallery, Singapore. Photograph: Ben Symons.
Erub Arts Solwata, 2015–16. Installation view (2016) at the AGNSW for the 20th Biennale of Sydney. Courtesy the artists and ReDot Fine Art Gallery, Singapore. Photograph: Ben Symons.
FX Harsano, 'Raining Bed', 2013. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist and ARNDT Art Agency, Berlin and Singapore. Photograph: Leïla Joy.
FX Harsano, 'Raining Bed', 2013. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist and ARNDT Art Agency, Berlin and Singapore. Photograph: Leïla Joy.
FX Harsano, 'Raining Bed', 2013. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist and ARNDT Art Agency, Berlin and Singapore. Photograph: Leïla Joy.
Gerald Machona, 'Flagging the nation', 2012. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist. Collection of The New Church Museum, Cape Town. Photograph: Leila Joy.
Gerald Machona, 'Flagging the nation', 2012. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist. Collection of The New Church Museum, Cape Town. Photograph: Leila Joy.
Gerald Machona, 'Flagging the nation', 2012. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist. Collection of The New Church Museum, Cape Town. Photograph: Leila Joy.
Helen Marten, 'Parrot Problems', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Sadie Coles HQ, London. Collection of K11 Kollection, Hong Kong. Photographer: Ben Symons.
Helen Marten, 'Parrot Problems', 2014. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy the artist and Sadie Coles HQ, London. Collection of K11 Kollection, Hong Kong. Photographer: Ben Symons.
Heman Chong, LEM2', 2016. Installation view (2016) at [XXXX] for the 20th Biennale of Sydney. Courtesy the artist; Wilkinson Gallery, London; Rossi & Rossi, London; and Vitamin Creative Space, Beijing. Photograph: Heman Chong.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Jamie North, 'Succession', 2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Sarah Cottier Gallery, Sydney. Photographer: Ben Symons.
Johanna Calle, 'Sermón', 2014–16. Courtesy the artist and Galería Casas Riegner, Bogotá. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Johanna Calle, 'Sermón', 2014–16. Courtesy the artist and Galería Casas Riegner, Bogotá. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Joyce Campbell, 'Flightdream', 2014–16. Sound: Peter Kolovos. Text: Mark Von Schlegell. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist and Two Rooms Gallery, Auckland. Photograph: Ben Symons.
Kazimir Malevich, 'Facsimiles of set and costume designs for the opera Victory Over the Sun', 1913. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy St Petersburg State Museum of Theatre & Music. Photograph: Leïla Joy.
Kazimir Malevich, 'Facsimiles of set and costume designs for the opera Victory Over the Sun', 1913. Installation view of the 20th Biennale of Sydney (2016) at the MCA, Sydney. Courtesy St Petersburg State Museum of Theatre & Music. Photograph: Leïla Joy.
Lauren Brincat, 'Salt Lines: Play It As It Sounds, Performance Instruments', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photographer: Ben Symons.
Lauren Brincat, 'Salt Lines: Play It As It Sounds, Performance Instruments', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photographer: Ben Symons.
Lauren Brincat, 'Salt Lines: Play It As It Sounds, Performance Instruments', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photographer: Ben Symons.
Lauren Brincat, 'Salt Lines: Play It As It Sounds, Performance Instruments', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photographer: Ben Symons.
Lauren Brincat, 'Salt Lines: Play It As It Sounds, Performance Instruments', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Bul, 'Willing To Be Vulnerable', 2015–16. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Ben Symons.
Lee Mingwei, 'Guernica in Sand', 2006/2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist. Collection of JUT Museum Pre-opening office, Taipei. Photograph: Ben Symons.
Lee Mingwei, 'Guernica in Sand', 2006/2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist. Collection of JUT Museum Pre-opening office, Taipei. Photograph: Ben Symons.
Lee Mingwei, 'Guernica in Sand', 2006/2016. Installation view of the 20th Biennale of Sydney (2016) at Carriageworks. Courtesy the artist. Collection of JUT Museum Pre-opening office, Taipei. Photograph: Ben Symons.
Nina Beier, 'Allegory of Charity', 2015. Installation view of the 20th Biennale of Sydney at the MCA. Courtesy the artist; Metro Pictures, New York; and Croy Nielsen Gallery, Berlin. Photographer: Ben Symons.
Nina Beier, 'Allegory of Charity', 2015. Installation view of the 20th Biennale of Sydney at the MCA. Courtesy the artist; Metro Pictures, New York; and Croy Nielsen Gallery, Berlin. Photographer: Ben Symons.
Nina Beier, 'Allegory of Charity', 2015. Installation view of the 20th Biennale of Sydney at the MCA. Courtesy the artist; Metro Pictures, New York; and Croy Nielsen Gallery, Berlin. Photographer: Ben Symons.
Nina Beier, 'Allegory of Charity', 2015. Installation view of the 20th Biennale of Sydney at the MCA. Courtesy the artist; Metro Pictures, New York; and Croy Nielsen Gallery, Berlin. Photographer: Ben Symons.
Nina Beier, 'The Complete Works', 2009/2016. Installation view (2016) at the Museum of Contemporary Art Australia for the 20th Biennale of Sydney. Courtesy the artist and Laura Bartlett Gallery, London. Photograph: Ben Symons.
Nina Beier, 'The Complete Works', 2009/2016. Installation view (2016) at the Museum of Contemporary Art Australia for the 20th Biennale of Sydney. Courtesy the artist and Laura Bartlett Gallery, London. Photograph: Ben Symons.
Nina Beier, 'The Complete Works', 2009/2016. Installation view (2016) at the Museum of Contemporary Art Australia for the 20th Biennale of Sydney. Courtesy the artist and Laura Bartlett Gallery, London. Photograph: Ben Symons.
Noa Eshkol, 'The Creation', 1995. Installation view of the 20th Biennale of Sydney (2016) at the MCA. Courtesy the Noa Eshkol Foundation for Movement Notation, Holon and Neugerriemschneider Gallery, Berlin. Photographer: Ben Symons.
Noa Eshkol, 'The Creation', 1995. Installation view of the 20th Biennale of Sydney (2016) at the MCA. Courtesy the Noa Eshkol Foundation for Movement Notation, Holon and Neugerriemschneider Gallery, Berlin. Photographer: Ben Symons.
Nyapanyapa Yunupingu, 'Bathala', 2012. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney Collection of Eleonora and Michael Trigubo. Photographer: Ben Symons.
Nyapanyapa Yunupingu, 'Bathala', 2012. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney Collection of Eleonora and Michael Trigubo. Photographer: Ben Symons.
Nyapanyapa Yunupingu, 'Bathala', 2012. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney Collection of Eleonora and Michael Trigubo. Photographer: Ben Symons.
Oscar Murillo, 'Untitled', 2016. Installation view (2016) at Mortuary Station for the 20th Biennale of Sydney. Courtesy the artist and David Zwirner, New York/London. Photograph: Ben Symons.
Otobong Nkanga, Forget Me Not', 2016. Installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy the artist. Photograph: Leïla Joy.
Sheila Hicks, 'The Embassy of Chromatic Delegates,' 2015–16. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Sheila Hicks, 'The Embassy of Chromatic Delegates,' 2015–16. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Sheila Hicks, 'The Embassy of Chromatic Delegates,' 2015–16. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Sheila Hicks, 'The Embassy of Chromatic Delegates,' 2015–16. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Installation view at the 20th Biennale of Sydney (2016) at Cockatoo Island. Photographer: Ben Symons.
Sheila Hicks, 'The Embassy of Chromatic Delegates', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Photograph: Leïla Joy
Sheila Hicks, 'The Embassy of Chromatic Delegates', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Photograph: Leïla Joy
Sheila Hicks, 'The Embassy of Chromatic Delegates', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Photograph: Leïla Joy
Sheila Hicks, 'The Embassy of Chromatic Delegates', 2015–16. Installation view of the 20th Biennale of Sydney (2016) at the AGNSW. Courtesy the artist; Alison Jacques Gallery, London; and Sikkema Jenkins & Co., New York. Photograph: Leïla Joy
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
Taro Shinoda, 'Abstraction of Confusion', 2016. Installation view of the 20th Biennale of Sydney (2016) at the Art Gallery of New South Wales. Courtesy the artist. Photographer: Ben Symons
William Forsythe, 'Nowhere and Everywhere at the Same Time, no. 2', 2013. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Bob Barrett.
William Forsythe, 'Nowhere and Everywhere at the Same Time, no. 2', 2013. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Bob Barrett.
William Forsythe, 'Nowhere and Everywhere at the Same Time, no. 2', 2013. Installation view of the 20th Biennale of Sydney (2016) at Cockatoo Island. Courtesy the artist. Photographer: Bob Barrett.
Xu Zhen (Produced by MadeIn Company), 'Eternity', 2013–14. nstallation view of the 20th Biennale of Sydney (2016) at Cockatoo Island.  Courtesy the artist. Produced by MadeIn Company. Collection of White Rabbit Gallery, Sydney. Photographer: Leïla Joy.
Xu Zhen (Produced by MadeIn Company), 'Eternity', 2013–14. nstallation view of the 20th Biennale of Sydney (2016) at Cockatoo Island.  Courtesy the artist. Produced by MadeIn Company. Collection of White Rabbit Gallery, Sydney. Photographer: Leïla Joy.
Xu Zhen (Produced by MadeIn Company), 'Eternity', 2013–14. nstallation view of the 20th Biennale of Sydney (2016) at Cockatoo Island.  Courtesy the artist. Produced by MadeIn Company. Collection of White Rabbit Gallery, Sydney. Photographer: Leïla Joy.

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