Art Monthly Australasia-Issue 320 November 2019

November 2019 Issue 320

1 Dispatches: andrew stephensPlastique Fantastique, MEDUSA, installation view, Festival 10 Sentidos, Valencia, 2018; image courtesy Plastique Fantastique — **1 Dispatches: andrew stephens**
Plastique Fantastique, *MEDUSA*, installation view, Festival 10 Sentidos, Valencia, 2018; image courtesy Plastique Fantastique

2 Notes from the field: Chloé WolifsonBodily Space: Confessed and Concealed, exhibition installation view, Yavuz Gallery, Singapore, 2019; image courtesy the artist and Yavuz Gallery, Singapore — **2 Notes from the field: Chloé Wolifson**
*Bodily Space: Confessed and Concealed*, exhibition installation view, Yavuz Gallery, Singapore, 2019; image courtesy the artist and Yavuz Gallery, Singapore

3 to structure, supportively: patrick D. FloresCéline Condorelli, Proposal for Spatial Composition 13, 2019; image courtesy the artist — **3 to structure, supportively: patrick D. Flores**
Céline Condorelli, *Proposal for Spatial Composition 13*, 2019; image courtesy the artist

4 a visual kind of excavation: finding carlos villa’s filipino roots: Mark Dean Johnson and Sherwin RioCarlos Villa, My Roots, 1970–71, acrylic and feathers on canvas, 232.4 x 236.9cm; Whitney Museum of American Art, New York; courtesy the Carlos Vi… — **4 a visual kind of excavation: finding carlos villa’s filipino roots: Mark Dean Johnson and Sherwin Rio**
Carlos Villa, *My Roots*, 1970–71, acrylic and feathers on canvas, 232.4 x 236.9cm; Whitney Museum of American Art, New York; courtesy the Carlos Villa Estate

5 On archiving and possibilities: thanavi chotpraditDetail of Somkiat Tangnamo’s slide archive at the Faculty of Fine Arts, Chiang Mai University; photo: Thanavi Chotpradit — **5 On archiving and possibilities: thanavi chotpradit**
Detail of Somkiat Tangnamo’s slide archive at the Faculty of Fine Arts, Chiang Mai University; photo: Thanavi Chotpradit

6 an art-world making with ray albano: the future i will never have; judy freya sibayan Judy Freya Sibayan reading Ray Albano’s ‘How to Make your Dream into a Performance’ as part of Three Pieces by Huge Bartolome and Judy Freya Sibayan, ‘Thirteen… — **6 an art-world making with ray albano: the future i will never have; judy freya sibayan**

Judy Freya Sibayan reading Ray Albano’s ‘How to Make your Dream into a Performance’ as part of *Three Pieces* by Huge Bartolome and Judy Freya Sibayan, ‘Thirteen Artists’, Cultural Center of the Philippines Art Museum, Manila, January 1977; courtesy Judy Freya Sibayan Archive

7 duck island to dorsoduro: ‘living rocks’ at venice; louise martin-chew, veniceLiving Rocks: A Fragment of the Universe, installation views, Magazzini del Sale, Venice, 2019; image courtesy the artists and the Art Gallery of South Australia, Adelai… — 7 duck island to dorsoduro: ‘living rocks’ at venice; louise martin-chew, *venice*
*Living Rocks: A Fragment of the Universe*, installation views, Magazzini del Sale, Venice, 2019; image courtesy the artists and the Art Gallery of South Australia, Adelaide; photo: Francesco Allegretto

8 worlds not far from here; tarun nagesh, canberraMelati Suryodarmo, Transaction of hollows, 2016/19, restaging of original durational performance (comprising bow, 800 arrows and costume); image courtesy the National Gallery of Australia, Canberra; … — 8 worlds not far from here; tarun nagesh, *canberra*
Melati Suryodarmo, *Transaction of hollows*, 2016/19, restaging of original durational performance (comprising bow, 800 arrows and costume); image courtesy the National Gallery of Australia, Canberra; © Melati Suryodarmo

9 experiencing vegetal ontology: emma walker at lismore regional gallery; Moya costello, lismoreEmma Walker, Dark Sublime, 2019, oil and mixed media on carved board,146 x 178cm (approx.); image courtesy the artist and Arthouse Gallery, Sydney; photo… — 9 experiencing vegetal ontology: emma walker at lismore regional gallery; Moya costello, *lismore*
Emma Walker, *Dark Sublime*, 2019, oil and mixed media on carved board,146 x 178cm (approx.); image courtesy the artist and Arthouse Gallery, Sydney; photo: Michelle Eabrys

10 sarah contos: chthonic fantasies; wes hillSarah Contos, Voltron 1 (Black), 2019, leather, thread (work in progress); image courtesy the artist — **10 sarah contos: chthonic fantasies; wes hill**
Sarah Contos, *Voltron 1 (Black)*, 2019, leather, thread (work in progress); image courtesy the artist

11 fixing the boundaries: mao tongqiang’s leaseholds; minerva inwaldMao Tongqiang, Leaseholds, 2016, installation view; land ownership papers from various times in China’s history, found picture frames; image courtesy the artist and the White Rabbit… — **11 fixing the boundaries: mao tongqiang’s *leaseholds*; minerva inwald**
Mao Tongqiang, *Leaseholds*, 2016, installation view; land ownership papers from various times in China’s history, found picture frames; image courtesy the artist and the White Rabbit Collection, Sydney

12 gordon shepherdson 1934 - 2019; bruce heiserGordon Shepherdson in his Brisbane studio, n.d.; courtesy Philip Bacon Galleries, Brisbane, and Nicholas Thompson Gallery, Melbourne — **12 gordon shepherdson 1934 - 2019; bruce heiser**
Gordon Shepherdson in his Brisbane studio, n.d.; courtesy Philip Bacon Galleries, Brisbane, and Nicholas Thompson Gallery, Melbourne

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.

Buy a subscription

Donate Now

Art Monthly Australasia receives organisational funding through:

Art Monthly Australasia is housed by:

‘UAMA Essay Series’
sponsored by: