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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

China: The New Generation

Katherine Volk Artasia pacific 19 February 2015
Full-page spread from the publication China: The New Generation, featuring artist ZHAO ZHAO’s installation Officer (2011). Photo by ArtAsiaPacific.

Modern China continues to distance itself from the days of the Cultural Revolution (1966–76). The Open Door policy, introduced by Deng Xiaoping in 1978, enabled a new age of consumerism and commercialism in China, which increased Western influences in the country that led to its integration into the modern international community. In the publication China: The New Generation (Skira, 2014), contemporary Chinese art specialist Jean-Marc Decrop and Jérôme Sans, former director of Beijing’s Ullens Center for Contemporary Art, focus on the artistic development in post-1980s China, looking at the work of 20 artists whose practice they believe epitomize this period.

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