May 2018 Issue 307

1 Dispatches:  Andrew StephensAngelica 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 WolifsonAndy 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, jakartaArt 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 Turn*s, exhibition installation view, Museum MACAN, Jakarta; image courtesy Museum MACAN, Jakarta

4 The complexity of contemporaneity: frank gohier at magnt: koulla roussos, darwinFranck Gohier: A Thousand Miles from Everywhere, exhibition installation view, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, 2018; image courtesy M… — 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, HobartGovernor 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 Aborigene… — 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, sydneyMon 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-… — 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, brisbaneThe Grotto, 2018, installation view, ‘Patricia Piccinini: Curious Affection’, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2018; image courtesy the ar… — 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, sydneyAi Weiwei, Law of the Journey, 2017, installation view, Cockatoo Island, 21st Biennale of Sydney, 2018; reinforced PVC with aluminium frame, 312 figures, 60 … — 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 guestGeng Xue, Mr Sea, 2013–14, video and installation; video: 13min 15sec duration; installation: dimensions variable; images courtesy Whit… — **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 kongNyapanyapa Yunupingu, GÄna (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, *GÄna (self)*, 2018, installation view, ‘Encounters’, Art Basel Hong Kong, 2018; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

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.

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