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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

The space of painting: 'Pittura,' Pino Pinelli's solo exhibition

Editor Randian 23 May 2016
Pino Pinelli, Pittura GR, mixed media, 10.5 × 20 cm each, 1987.

“I cannot possibly understand those artists who place themselves in front of the canvas as if it was a surface to be filed up with colors and shapes, following a taste that is more or less appreciable. They trace out a sign, walk a few steps back, look carefully at what the have just done, bend their head, half close their eyes, then jump forward and start again. They go with this sort of physical training until they have filled up the canvas completely. In this case a surface if endless possibilities is now reduced to a sort of receptacle in which artificial colors and meanings are compressed. Why do they not empty out this receptacle? Why don’t they set this surface free? Why do they not investigate the endless meaning of a total space, of a pure and absolute light? …” – Piero Manzoni

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