Art Monthly Australasia-Issue 287 March 2016

1 Asian Australian engagement: A digest: Jasmin Stephens, SydneyTony 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, Pe… — 1 Asian Australian engagement: A digest: 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: Russell Storer, SingaporeSuzann Victor, Skin to Skin, 2005, installation view, World Square, Sydney; stainless steel, antenna, LEDs, commissioned by Multiplex Constructions; image courtesy the artistmo… — **2 Class act: Art schools and cultural exchange: 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: Vera Mey, SingaporePeter 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: 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: Sonia Legge, SydneyJumaadi, Connected, 2016, ink on page of found book, 22 x 30cm; image courtesy the artist and Watters Gallery, Sydney — 4 Jumaadi: What comes naturally: 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: Chloe Wolifson, SingaporeOn 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 b… — 5 Temporal translations: ‘Time of Others’ at SAM: 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: Chloe Wolifson, SingaporeSullivan+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: 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: Olivier Krischer, CanberraPeng 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: 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: Mami Kataoka, TokyoMella Jaarsma, Until Time is Old, 2014, sea urchins, stainless steel, thread, clips, fabric, 80 x 280 x 150cm; image courtesy the artist; photo: Mie … — 8 A constant negotiation towards equilibrium: Reconsidering non-material values: 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’: David Malouf, SydneyJuliet 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’: 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: Amelia Winata, MelbourneDale Frank, exhibition view, Neon Parc, Brunswick space, 2015; image courtesy Neon Parc, Melbourne — 10 Through a glass darkly: Dale Frank at Neon Parc: 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: Ashley Crawford, HealesvilleHoward Arkley (and friends…), installation views, TarraWarra Museum of Art, Healesville, 2015; © The Estate of Howard Arkley, courtesy Kalli Rolfe Contemporary Art, Melbour… — 11 In good company: Howard Arkley at TarraWarra: 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: Kieran Finnane, Alice SpringsVincent Namatjira, James Cook – with the declaration, 2014, acrylic on canvas, 101 x 76cm, The British Museum, London; image courtesy the artist and Iwa… — 12 From ceremony to selfies: New developments in desert figuration: 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: Melinda Hinkson and Tim BonyhadyMark 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: 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

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.