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Bani Abidi: ‘What you see in my films is what I know’ Ocula Conversation Bani Abidi: ‘What you see in my films is what I know’

A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...

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Aichi to Okayama: Art in Japan Looks to the Future Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula

There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...

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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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Art Basel Roundup

Barbara Casavecchia Art Agenda 22 June 2015
View of Rirkrit Tiravanija, Nikolaus Hirsch/Michel Mueller, and Antto Melasnie's, DO WE DREAM UNDER THE SAME SKY, 2015. Image courtesy of Art Agenda.

Gold (2004), performed by Alexandra Bachzetsis at the Natural History Museum on the opening night of Parcours, said it all: she entered the room wearing stilettos and a tiny, shiny golden bikini, her body covered in oil like a wrestler. She turned a camera on and started dancing in front of it, building an intense routine of iconic, sexy moves while ripping up sheets of paper from a pile. Only in the second part of the performance, when she projected the video accompanied by an electronic music set, did it become clear that she had been shaking her, quote, “bum-bum” to a series of explicit hip-hop lyrics, from “Is it worth it, let me work it” (Missy Elliott, Work It, 2002) to “I can teach you, / but I have to charge” (Kelis, Milkshake, 2003). Here is the artist as commodity, in real time.

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