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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Related Press

A journey into intimacy: Exploring the art of Joy Hester and Patricia Piccinini

Kylie Northover The Sydney Morning Herald First published on 30 November 2018

Patricia Piccinini, Kindred (detail) (2018). Exhibition view: Patricia Piccinini & Joy Hester: Through love ..., TarraWarra Museum of Art (25 November 2018–11 March 2019). The Michael and Janet Buxton Collection, Melbourne. Courtesy the artist, Tolarno Galleries, Melbourne, and Roslyn Oxley9 Gallery, Sydney. Photo: Rick Liston.

'Most people look at my pieces and find them repulsive," says Patricia Piccinini of her sculptures, "but all my work is about love.'

Piccinini has spent years working across many media, but it's her sculptures that have resonated the most – at once hyper-real and other-worldly, they throw up questions and provoke mixed emotions, with their hair and crevices and skin folds that may or may not be orifices.

But it's connection that underlies most of her work.

READ MORE ON smh.com.au

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