Summer 2016/17 bumper issue 295

1. Dispatches: Evolutionary art; Still  Edgy, Andrew Stephens Mat Collishaw, The Centrifugal Soul, 2016, acrylic, aluminium, steel, LED lights, motor, electronic circuitry, resin, paint; commissioned by MONA for ‘On the Origin of Art’; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

1. Dispatches: Evolutionary art; Still  Edgy, Andrew Stephens

Mat Collishaw, The Centrifugal Soul, 2016, acrylic, aluminium, steel, LED lights, motor, electronic circuitry, resin, paint; commissioned by MONA for ‘On the Origin of Art’; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

2. Through the looking glass: The 5th Singapore Biennale, Michael Fitzgerald, Singapore Chia Chuyia, Knitting the Future, 2015–16, installation view, 5th Singapore Biennale, 2016; performance with knitting needles and leeks, dimensions variable; image courtesy the artist and Singapore Art Museum

2. Through the looking glass: The 5th Singapore Biennale, Michael Fitzgerald, Singapore

Chia Chuyia, Knitting the Future, 2015–16, installation view, 5th Singapore Biennale, 2016; performance with knitting needles and leeks, dimensions variable; image courtesy the artist and Singapore Art Museum

3. The 32nd SÃo Paulo Biennial: In praise of uncertainty, En Young Ahn, São Paulo Frans Krajcberg, Untitled, n.d., installation view, the 32nd SÃO Paulo Biennial, 2016; burnt wood and natural pigments, dimensions variable; photo: En Young Ahn

3. The 32nd SÃo Paulo Biennial: In praise of uncertainty, En Young Ahn, São Paulo

Frans Krajcberg, Untitled, n.d., installation view, the 32nd SÃO Paulo Biennial, 2016; burnt wood and natural pigments, dimensions variable; photo: En Young Ahn

4. ‘Frágil’: An Australian art exhibition in Ecuador, En Young Ahn, Cuenca Reko Rennie, I was always here, 2016, installation view, ‘FrÁgil’, Salón de Pueblo, Cuenca, 2016; synthetic polymer, metallic foil and binder on linen, 1000 x 120cm; photo: En Young Ahn

4. ‘Frágil’: An Australian art exhibition in Ecuador, En Young Ahn, Cuenca

Reko Rennie, I was always here, 2016, installation view, ‘FrÁgil’, Salón de Pueblo, Cuenca, 2016; synthetic polymer, metallic foil and binder on linen, 1000 x 120cm; photo: En Young Ahn

5. Centre and periphery: Establishing Galerie Allen in Paris, Caroline Hancock, Paris Boris Achour, 12XU, exhibition view, Galerie Allen, Paris, 12 May – 23 July 2016; image courtesy the artist and Galerie Allen, Paris; photo: Aurélien Mole

5. Centre and periphery: Establishing Galerie Allen in Paris, Caroline Hancock, Paris

Boris Achour, 12XU, exhibition view, Galerie Allen, Paris, 12 May – 23 July 2016; image courtesy the artist and Galerie Allen, Paris; photo: Aurélien Mole

6. ‘For your enjoyment’: Australian Galleries turns 60, Sasha Grishin, Melbourne Charles Bush watercolour reproduced for Australian Galleries pamphlet, 1956; image courtesy the Australian Galleries, Melbourne and Sydney

6. ‘For your enjoyment’: Australian Galleries turns 60, Sasha Grishin, Melbourne

Charles Bush watercolour reproduced for Australian Galleries pamphlet, 1956; image courtesy the Australian Galleries, Melbourne and Sydney

7. A poignant intimacy: Nyonya needlework at the Peranakan Museum, Andrew Montana, Singapore Valance for a wedding bed, Indonesia, mid-nineteenth century; image courtesy the National Museum of World Cultures, The Netherlands

7. A poignant intimacy: Nyonya needlework at the Peranakan Museum, Andrew Montana, Singapore

Valance for a wedding bed, Indonesia, mid-nineteenth century; image courtesy the National Museum of World Cultures, The Netherlands

8. A delicate balance: Sriwhana Spong and Maria Taniguchi at the ICA, Tai Mitsuji, Singapore Sriwhana Spong and Maria Taniguchi: Oceanic feeling, exhibition view, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, 2016; photos: truphotos.com

8. A delicate balance: Sriwhana Spong and Maria Taniguchi at the ICA, Tai Mitsuji, Singapore

Sriwhana Spong and Maria Taniguchi: Oceanic feeling, exhibition view, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, 2016; photos: truphotos.com

9. Firsts and lasts: Zhang Peili at the Australian Centre on China in the World, Minerva Inwald, Canberra Zhang Peili, Uncertain Pleasure, 1996, install view, Australian Centre on China in the World, Canberra, 2016; 6-channel video, 12 CRT monitors, 5:04 mins duration; photo: Ashley St George

9. Firsts and lasts: Zhang Peili at the Australian Centre on China in the World, Minerva Inwald, Canberra

Zhang Peili, Uncertain Pleasure, 1996, install view, Australian Centre on China in the World, Canberra, 2016; 6-channel video, 12 CRT monitors, 5:04 mins duration; photo: Ashley St George

10. The realm of the senses: The artwork of teamLab in Australia and Japan, Russell Kelty, Adelaide teamLab, Crows are Chased and the Chasing Crows are Destined to be Chased as well, Blossoming on Collision – Light in Space, 2016, interactive digital installation, 4 mins 20 secs duration; sound: Takahashi Hideaki; image courtesy the artists and the Mori Art Museum, Tokyo

10. The realm of the senses: The artwork of teamLab in Australia and Japan, Russell Kelty, Adelaide

teamLab, Crows are Chased and the Chasing Crows are Destined to be Chased as well, Blossoming on Collision – Light in Space, 2016, interactive digital installation, 4 mins 20 secs duration; sound: Takahashi Hideaki; image courtesy the artists and the Mori Art Museum, Tokyo

11. ‘Sovereignty’: Indigenising and decolonising curatorial practice, Khadija von Zinnenburg Carroll, Melbourne  Kent Morris, Boonwurrung (St Kilda) – Magpie, 2016, from the series ‘Cultural Reflections – Up Above #2’, archival print on rag paper, 100 x 150cm; image courtesy the artist and Vivien Anderson Gallery, Melbourne

11. ‘Sovereignty’: Indigenising and decolonising curatorial practice, Khadija von Zinnenburg Carroll, Melbourne

 Kent Morris, Boonwurrung (St Kilda) – Magpie, 2016, from the series ‘Cultural Reflections – Up Above #2’, archival print on rag paper, 100 x 150cm; image courtesy the artist and Vivien Anderson Gallery, Melbourne

12. ‘Dwelling’ as a political form: Architecture and memory in the practice of Archie Moore, Tess Maunder, Brisbane Archie Moore, A Home Away from Home (Bennelong/Vera’s Hut), 2016, installation view, 20th Biennale of Sydney, Royal Botanic Garden, 2016; mixed-media installation, 433.2 x 345 x 258.4cm; made with assistance from Neil Hobbs and Karina Harris, and Kevin O’Brien; image courtesy the artist and The Commercial Gallery, Sydney; photo: Wendell Teodoro

12. ‘Dwelling’ as a political form: Architecture and memory in the practice of Archie Moore, Tess Maunder, Brisbane

Archie Moore, A Home Away from Home (Bennelong/Vera’s Hut), 2016, installation view, 20th Biennale of Sydney, Royal Botanic Garden, 2016; mixed-media installation, 433.2 x 345 x 258.4cm; made with assistance from Neil Hobbs and Karina Harris, and Kevin O’Brien; image courtesy the artist and The Commercial Gallery, Sydney; photo: Wendell Teodoro

13. A transfer of stimulus and creativity: 25 years of ‘Primavera’, Michael Fitzgerald, Sydney Rebecca Baumann, Improvised Smoke Device, 2010/11, installation view, ‘Primavera 2011: Young Australian Artists’, First Fleet Park, Circular Quay, Sydney, 2011; 25 smoke canisters, coloured smoke, aluminium, electric detonator; image courtesy the artist and the Museum of Contemporary Art Australia, Sydney; © the artist; photo: Alex Davies

13. A transfer of stimulus and creativity: 25 years of ‘Primavera’, Michael Fitzgerald, Sydney

Rebecca Baumann, Improvised Smoke Device, 2010/11, installation view, ‘Primavera 2011: Young Australian Artists’, First Fleet Park, Circular Quay, Sydney, 2011; 25 smoke canisters, coloured smoke, aluminium, electric detonator; image courtesy the artist and the Museum of Contemporary Art Australia, Sydney; © the artist; photo: Alex Davies

14. Careful gestures: Curatorial work and the poetic potential of metaphor, Isobel Parker Philip, Sydney Imprint: photography and the impressionable image, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2016; photo: Felicity Jenkins/AGNSW

14. Careful gestures: Curatorial work and the poetic potential of metaphor, Isobel Parker Philip, Sydney

Imprint: photography and the impressionable image, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2016; photo: Felicity Jenkins/AGNSW

15. Reproducing history: New Zealand Photography Collected, Geoffrey Batchen, Wellington Peter Peryer, New Zealand 15.3.1991, 1991, silver gelatin print, 40.8 x 26.8cm; Museum of New Zealand Te Papa Tongarewa, Wellington, purchased 2004

15. Reproducing history: New Zealand Photography Collected, Geoffrey Batchen, Wellington

Peter Peryer, New Zealand 15.3.1991, 1991, silver gelatin print, 40.8 x 26.8cm; Museum of New Zealand Te Papa Tongarewa, Wellington, purchased 2004

16. The view from the South: Bernard Smith’s antipodean visions, Richard Haese Sheridan Palmer, Hegel’s Owl: The Life of Bernard Smith, Power Publications, Sydney, 2016, 415 pages, AU$39.95

16. The view from the South: Bernard Smith’s antipodean visions, Richard Haese

Sheridan Palmer, Hegel’s Owl: The Life of Bernard Smith, Power Publications, Sydney, 2016, 415 pages, AU$39.95

17. Another country: Half the Sky: Conversations with women artists in China, Mikala Tai Luise Guest, Half the Sky: Conversations with women artists in China, Piper Press, Sydney, 2016, 224 pages, AU$69.95

17. Another country: Half the Sky: Conversations with women artists in China, Mikala Tai

Luise Guest, Half the Sky: Conversations with women artists in China, Piper Press, Sydney, 2016, 224 pages, AU$69.95

18. Miriam Stannage 1939 – 2016, Lee Kinsella, Perth Miriam Stannage, 8.46 a.m. (11 Sept. 2001), 2002, relief prints, printed by hand in colour inks, from artist designed rubber stamps; printed image 76.6 x 56.8cm; National Gallery of Australia, Canberra, Gordon Darling Australia Pacific Print Fund, 2010; © and courtesy the artist’s estate

18. Miriam Stannage 1939 – 2016, Lee Kinsella, Perth

Miriam Stannage, 8.46 a.m. (11 Sept. 2001), 2002, relief prints, printed by hand in colour inks, from artist designed rubber stamps; printed image 76.6 x 56.8cm; National Gallery of Australia, Canberra, Gordon Darling Australia Pacific Print Fund, 2010; © and courtesy the artist’s estate

19. Huang Zhuan 1958 – 2016, Claire Roberts Huang Zhuan, OCAT Shenzhen, 3 June 2006; photo: Wang Youshen

19. Huang Zhuan 1958 – 2016, Claire Roberts

Huang Zhuan, OCAT Shenzhen, 3 June 2006; photo: Wang Youshen

20. S. Teddy D. 1970 – 2016, Asmudjo Jono Irianto and Christine Clark S. Teddy D., August 2011; image courtesy the National Portrait Gallery, Canberra; photo: Mark Mohell

20. S. Teddy D. 1970 – 2016, Asmudjo Jono Irianto and Christine Clark

S. Teddy D., August 2011; image courtesy the National Portrait Gallery, Canberra; photo: Mark Mohell