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
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
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
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
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
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
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
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
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
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
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
