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May 2018 Issue 307

  1 Dispatches:  Andrew Stephens   Angelica Mesiti; image courtesy the Australia Council for the Arts; photo: Josh Raymond

1 Dispatches:  Andrew Stephens

Angelica Mesiti; image courtesy the Australia Council for the Arts; photo: Josh Raymond

  2 NOTES FROM THE FIELD: Chloé Wolifson   Andy Leleisi‘uao, Harmonic Islands, 2018, acrylic on canvas, 101 x76cm; image courtesy the artist and Bergman Gallery, Rarotonga

2 NOTES FROM THE FIELD: Chloé Wolifson

Andy Leleisi‘uao, Harmonic Islands, 2018, acrylic on canvas, 101 x76cm; image courtesy the artist and Bergman Gallery, Rarotonga

  3 'Art turns. world turns' the first months at macan: julie ewington,  jakarta    Art Turns. World Turns, exhibition installation view, Museum MACAN, Jakarta; image courtesy Museum MACAN, Jakarta

3 'Art turns. world turns' the first months at macan: julie ewington, jakarta

Art Turns. World Turns, exhibition installation view, Museum MACAN, Jakarta; image courtesy Museum MACAN, Jakarta

  4 The complexity of contemporaneity: frank gohier at magnt: koulla roussos,  darwin    Franck Gohier: A Thousand Miles from Everywhere, exhibition installation view, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, 2018; image courtesy MAGNT, Darwin

4 The complexity of contemporaneity: frank gohier at magnt: koulla roussos, darwin

Franck Gohier: A Thousand Miles from Everywhere, exhibition installation view, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, 2018; image courtesy MAGNT, Darwin

  5 violet mace: native or indigenous? Peter Hughes,  Hobart    Governor Davey’s Proclamation board, 1930, ceramic (glazed earthenware) cup, 10.6 x 12.4 x 9.3cm (dia.); inscribed in clay on the underside: ‘Governor Davey’s / Proclamation to/ the Aborigenes / Tasmania 1816’; presented by Elaine Downie, 2016; image courtesy TMAG, Hobart

5 violet mace: native or indigenous? Peter Hughes, Hobart

Governor Davey’s Proclamation board, 1930, ceramic (glazed earthenware) cup, 10.6 x 12.4 x 9.3cm (dia.); inscribed in clay on the underside: ‘Governor Davey’s / Proclamation to/ the Aborigenes / Tasmania 1816’; presented by Elaine Downie, 2016; image courtesy TMAG, Hobart

  6 The curators, the diplomat and 'the lady and the unicorn: joanna mendelssohn,  sydney    Mon Seul Désir, c. 1500, from ‘The Lady and the Unicorn’ series, wool and silk, 377 x 473cm, Musée de Cluny – Musée national du Moyen Âge, Paris; photo and ©: RMN-GP/M. Urtado

6 The curators, the diplomat and 'the lady and the unicorn: joanna mendelssohn, sydney

Mon Seul Désir, c. 1500, from ‘The Lady and the Unicorn’ series, wool and silk, 377 x 473cm, Musée de Cluny – Musée national du Moyen Âge, Paris; photo and ©: RMN-GP/M. Urtado

  7 curiouser and curiouser: patricia piccinini at goma: tess maunder,  brisbane    The Grotto, 2018, installation view, ‘Patricia Piccinini: Curious Affection’, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2018; image courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco; photo: Natasha Harth, QAGOMA

7 curiouser and curiouser: patricia piccinini at goma: tess maunder, brisbane

The Grotto, 2018, installation view, ‘Patricia Piccinini: Curious Affection’, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2018; image courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco; photo: Natasha Harth, QAGOMA

  8 connecting the foreign with the familiar: the 21st biennale of sydney: tai mitsuji,  sydney    Ai Weiwei, Law of the Journey, 2017, installation view, Cockatoo Island, 21st Biennale of Sydney, 2018; reinforced PVC with aluminium frame, 312 figures, 60 x 6 x 3m; presented in Sydney with support from the Sherman Foundation; image courtesy the artist and neugerriemschneider, Berlin; photo: Document Photography

8 connecting the foreign with the familiar: the 21st biennale of sydney: tai mitsuji, sydney

Ai Weiwei, Law of the Journey, 2017, installation view, Cockatoo Island, 21st Biennale of Sydney, 2018; reinforced PVC with aluminium frame, 312 figures, 60 x 6 x 3m; presented in Sydney with support from the Sherman Foundation; image courtesy the artist and neugerriemschneider, Berlin; photo: Document Photography

  9 allegories of the Anthropocene: animated dystopias in the work of geng xue, qiu anxiong and sun xun: luise guest   Geng Xue, Mr Sea, 2013–14, video and installation; video: 13min 15sec duration; installation: dimensions variable; images courtesy White Rabbit Collection, Sydney

9 allegories of the Anthropocene: animated dystopias in the work of geng xue, qiu anxiong and sun xun: luise guest

Geng Xue, Mr Sea, 2013–14, video and installation; video: 13min 15sec duration; installation: dimensions variable; images courtesy White Rabbit Collection, Sydney

  10 a kind of calm: 'encounters 2018' at art basel hong kong:   Chloé wolifson,  hong kong    Nyapanyapa Yunupingu, na (self), 2018, installation view, ‘Encounters’, Art Basel Hong Kong, 2018; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

10 a kind of calm: 'encounters 2018' at art basel hong kong: Chloé wolifson, hong kong

Nyapanyapa Yunupingu, na (self), 2018, installation view, ‘Encounters’, Art Basel Hong Kong, 2018; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney