1 Asian Australian engagement: A digest by Jasmin Stephens, Sydney Tony Garifalakis and Richard Lewer, God loves us all, 2012, acrylic on found map, 90 x 110cm; exhibited in ‘Yonder’, curated by Jasmin Stephens, Perth Institute of Contemporary Arts, Perth, 2012; image courtesy the artists and Hugo Michell Gallery, Adelaide (Garifalakis and Lewer), Sullivan+Strumpf, Sydney (Lewer), Gow Langsford Gallery, Auckland (Lewer); photo: Andrew Curtis

1 Asian Australian engagement: A digest by Jasmin Stephens, Sydney

Tony Garifalakis and Richard Lewer, God loves us all, 2012, acrylic on found map, 90 x 110cm; exhibited in ‘Yonder’, curated by Jasmin Stephens, Perth Institute of Contemporary Arts, Perth, 2012; image courtesy the artists and Hugo Michell Gallery, Adelaide (Garifalakis and Lewer), Sullivan+Strumpf, Sydney (Lewer), Gow Langsford Gallery, Auckland (Lewer); photo: Andrew Curtis

2 Class act: Art schools and cultural exchange by Russell Storer, Singapore Suzann Victor, Skin to Skin, 2005, installation view, World Square, Sydney; stainless steel, antenna, LEDs, commissioned by Multiplex Constructions; image courtesy the artistmore

2 Class act: Art schools and cultural exchange by Russell Storer, Singapore

Suzann Victor, Skin to Skin, 2005, installation view, World Square, Sydney; stainless steel, antenna, LEDs, commissioned by Multiplex Constructions; image courtesy the artistmore

3 Present tense: The 2015 Jakarta Biennale by Vera Mey, Singapore Peter Robinson, Syntax System, 2015, installation view, Jakarta Biennale, 2015; die-cut felt, 1000 x 1000 x 30cm; documentation: Jakarta Biennale & 301 Studio

3 Present tense: The 2015 Jakarta Biennale by Vera Mey, Singapore

Peter Robinson, Syntax System, 2015, installation view, Jakarta Biennale, 2015; die-cut felt, 1000 x 1000 x 30cm; documentation: Jakarta Biennale & 301 Studio



 

4 Jumaadi: What comes naturally by Sonia Legge, Sydney Jumaadi, Connected, 2016, ink on page of found book, 22 x 30cm; image courtesy the artist and Watters Gallery, Sydney

4 Jumaadi: What comes naturally by Sonia Legge, Sydney

Jumaadi, Connected, 2016, ink on page of found book, 22 x 30cm; image courtesy the artist and Watters Gallery, Sydney

5 Temporal translations: ‘Time of Others’ at SAM by Chloe Wolifson, Singapore On Kawara, APR. 8, 1981, 1981, and NOV. 21, 1985, 1985, from the ‘Today’ series, installation view, Singapore Art Museum, 2015–16; both acrylic on canvas, newspaper and paper box, 25.7 x 33.4cm, Museum of Contemporary Art Tokyo collection

5 Temporal translations: ‘Time of Others’ at SAM by Chloe Wolifson, Singapore

On Kawara, APR. 8, 1981, 1981, and NOV. 21, 1985, 1985, from the ‘Today’ series, installation view, Singapore Art Museum, 2015–16; both acrylic on canvas, newspaper and paper box, 25.7 x 33.4cm, Museum of Contemporary Art Tokyo collection

   6 Art Stage Singapore 2016: A delicate balance by Chloe Wolifson, Singapore Sullivan+Strumpf booth, installation view, Art Stage Singapore, 2016, with work (from left) of Sydney Ball, Alex Seton and Sam Leach; image courtesy Sullivan+Strumpf, Sydney

  
6 Art Stage Singapore 2016: A delicate balance by Chloe Wolifson, Singapore

Sullivan+Strumpf booth, installation view, Art Stage Singapore, 2016, with work (from left) of Sydney Ball, Alex Seton and Sam Leach; image courtesy Sullivan+Strumpf, Sydney

7 Questioning the ink paradigm: Sophie McIntyre in conversation by Olivier Krischer, Canberra Peng Wei, Winter Mountain, 2011, Sergio Rossi boots and rice paper, 60 x 25 x 30cm; image courtesy the artist and Tina Keng Gallery, Taipei and Beijing

7 Questioning the ink paradigm: Sophie McIntyre in conversation by Olivier Krischer, Canberra

Peng Wei, Winter Mountain, 2011, Sergio Rossi boots and rice paper, 60 x 25 x 30cm; image courtesy the artist and Tina Keng Gallery, Taipei and Beijing

8 A constant negotiation towards equilibrium: Reconsidering non-material values by Mami Kataoka, Tokyo Mella Jaarsma, Until Time is Old, 2014, sea urchins, stainless steel, thread, clips, fabric, 80 x 280 x 150cm; image courtesy the artist; photo: Mie Cornoedus

8 A constant negotiation towards equilibrium: Reconsidering non-material values by Mami Kataoka, Tokyo

Mella Jaarsma, Until Time is Old, 2014, sea urchins, stainless steel, thread, clips, fabric, 80 x 280 x 150cm; image courtesy the artist; photo: Mie Cornoedus

9 An encounter with time: Juliet Darling’s ‘WAIT’ by David Malouf, Sydney Juliet Darling, Bondi, 2015, still from ‘WAIT’, 3-channel video loop; 5 mins 56 secs duration, edition of 8 + 2 APs; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

9 An encounter with time: Juliet Darling’s ‘WAIT’ by David Malouf, Sydney

Juliet Darling, Bondi, 2015, still from ‘WAIT’, 3-channel video loop; 5 mins 56 secs duration, edition of 8 + 2 APs; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

10 Through a glass darkly: Dale Frank at Neon Parc by Amelia Winata, Melbourne Dale Frank, exhibition view, Neon Parc, Brunswick space, 2015; image courtesy Neon Parc, Melbourne

10 Through a glass darkly: Dale Frank at Neon Parc by Amelia Winata, Melbourne

Dale Frank, exhibition view, Neon Parc, Brunswick space, 2015; image courtesy Neon Parc, Melbourne

11 In good company: Howard Arkley at TarraWarra by Ashley Crawford, Healesville Howard Arkley (and friends…), installation views, TarraWarra Museum of Art, Healesville, 2015; © The Estate of Howard Arkley, courtesy Kalli Rolfe Contemporary Art, Melbourne; photos: Andrew Curtis

11 In good company: Howard Arkley at TarraWarra by Ashley Crawford, Healesville

Howard Arkley (and friends…), installation views, TarraWarra Museum of Art, Healesville, 2015; © The Estate of Howard Arkley, courtesy Kalli Rolfe Contemporary Art, Melbourne; photos: Andrew Curtis

12 From ceremony to selfies: New developments in desert figuration by Kieran Finnane, Alice Springs Vincent Namatjira, James Cook – with the declaration, 2014, acrylic on canvas, 101 x 76cm, The British Museum, London; image courtesy the artist and Iwantja Arts, Indulkana

12 From ceremony to selfies: New developments in desert figuration by Kieran Finnane, Alice Springs

Vincent Namatjira, James Cook – with the declaration, 2014, acrylic on canvas, 101 x 76cm, The British Museum, London; image courtesy the artist and Iwantja Arts, Indulkana

13 Andrew Sayers 1957 – 2015 by Melinda Hinkson and Tim Bonyhady Mark Mohell, Andrew Sayers, 2012, selenium-toned silver gelatin photograph; National Portrait Gallery, Canberra, purchased with funds provided by Marilyn Darling AC 2013

13 Andrew Sayers 1957 – 2015 by Melinda Hinkson and Tim Bonyhady

Mark Mohell, Andrew Sayers, 2012, selenium-toned silver gelatin photograph; National Portrait Gallery, Canberra, purchased with funds provided by Marilyn Darling AC 2013