Summer 2017-2018 Issue 304

1 Dispatches: Andrew StephensJennifer Mitchell, Hugo Weaving as Martin, 1991, from the film Proof directed by Jocelyn Moorhouse; image courtesy House And Moorhouse Films Pty Ltd, and the National Film and Sound Archive of Australia, Canberra — **1 Dispatches: Andrew Stephens**
Jennifer Mitchell, *Hugo Weaving as Martin,* 1991, from the film *Proof* directed by Jocelyn Moorhouse;
image courtesy House And Moorhouse Films Pty Ltd, and the National Film and Sound Archive of Australia, Canberra

2 Inhabiting complex currents and contexts: mami kataoka in conversation with julie ewingtonMami Kataoka, Sydney Opera House, April 2017; image courtesy the Biennale of Sydney; photo: Catherine McElhone — **2 Inhabiting complex currents and contexts: mami kataoka in conversation with julie ewington**
Mami Kataoka, Sydney Opera House, April 2017; image courtesy the Biennale of Sydney; photo: Catherine McElhone

3 From 'Asia Corridor' to 'Sunshower': Illuminating North and Southeast Asian art in Japan: Judy AnnearFelix Bacolor, Stormy Weather, 2009/2017, installation view, ‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, Mori Art Museum, Toky… — **3 From 'Asia Corridor' to 'Sunshower': Illuminating North and Southeast Asian art in Japan: Judy Annear**
Felix Bacolor, *Stormy Weather*, 2009/2017, installation view, ‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, Mori Art Museum, Tokyo, 2017; wind chimes, dimensions variable; image courtesy Mori Art Museum, Tokyo; © the artist; photo: Kioku Keizo

4 Watch the Inside of the heart of the other: notes on Pipilotti rist: Natasha Bullock, SydneyPipilotti Rist, 4th Floor to Mildness, 2016, installation view, ‘Pipilotti Rist: Sip my Ocean’, Museum of Contemporary Art Australia, Sydney, 2017; image c… — 4 Watch the Inside of the heart of the other: notes on Pipilotti rist: Natasha Bullock, *Sydney*
Pipilotti Rist, *4th Floor to Mildness*, 2016, installation view, ‘Pipilotti Rist: Sip my Ocean’, Museum of Contemporary Art Australia, Sydney, 2017; image courtesy the artist, Hauser & Wirth and Luhring Augustine; © the artist; photo: Ken Leanfore

5 Crossing boundaries and calling homeTintin Wulia in conversation with Tess MaunderTintin Wulia, Eeny Meeny Money Moe, 2012, installation view, 7th Asia Pacific Triennial of Contemporary Art (APT7), Brisbane, 2012–13; interactive installation with … — **5 Crossing boundaries and calling homeTintin Wulia in conversation with Tess Maunder**
Tintin Wulia, *Eeny Meeny Money Moe,* 2012, installation view, 7th Asia Pacific Triennial of Contemporary Art (APT7), Brisbane, 2012–13; interactive installation with handmade passports and synchronised machines, commissioned for APT7; image courtesy the artist and Milani Gallery, Brisbane; © the artist; photo: Mark Sherwood

6 Remaking culture in‘Project Banaba’Katerina Teaiwa in conversation with Michael FitzgeraldKaterina Teaiwa, Project Banaba, exhibition detail from Teaiwa’s Kainga; image courtesy the artist; photo: Katerina Teaiwa — **6 Remaking culture in‘Project Banaba’Katerina Teaiwa in conversation with Michael Fitzgerald**
Katerina Teaiwa, *Project Banaba*, exhibition detail from Teaiwa’s Kainga; image courtesy the artist; photo: Katerina Teaiwa

7 Benjamin Duterrau A grand contradiction: Greg Lehman, HobartBenjamin Duterrau, The Conciliation, 1840, oil on canvas, 121 x 170.5cm; Tasmanian Museum and Art Gallery, Hobart, purchased with assistance from the Friends of the Museum Fund and the Mu… — 7 Benjamin Duterrau A grand contradiction: Greg Lehman, *Hobart*
Benjamin Duterrau, *The Conciliation*, 1840, oil on canvas, 121 x 170.5cm; Tasmanian Museum and Art Gallery, Hobart, purchased with assistance from the Friends of the Museum Fund and the Murray Fund, 1945

8 Urgency rezoned ‘Canton Express’ at M+ Pavilion: Mikala Tai, Hong KongXu Tan, Biennale.dog, 2003, digital print on vinyl banner; M+, Hong Kong, gift of Guan Yi, 2013; image courtesy M+, Hong Kong — 8 Urgency rezoned ‘Canton Express’ at M+ Pavilion: Mikala Tai, *Hong Kong*
Xu Tan, *Biennale.dog*, 2003, digital print on vinyl banner; M+, Hong Kong, gift of Guan Yi, 2013; image courtesy M+, Hong Kong

9 ‘It’s not that I’m afraid to die ...’: Kit Messham-Muir, PerthAbdullah M. I. Syed, Flying Rug of Drones (Circle), 2015–17, razor blades, sound; image courtesy the artist and Aicon Gallery, New York — 9 ‘It’s not that I’m afraid to die ...’: Kit Messham-Muir, *Perth*
Abdullah M. I. Syed, *Flying Rug of Drones (Circle)*, 2015–17, razor blades, sound; image courtesy the artist and Aicon Gallery, New York

10 Sociopolitical whirls ‘After Utopia’ at Samstag: Christine Nicholls, AdelaideAfter Utopia: Revisiting the Ideal in Asian Contemporary Art, exhibition installation view, Anne & Gordon Samstag Museum of Art, University of South Australia, Adela… — 10 Sociopolitical whirls ‘After Utopia’ at Samstag: Christine Nicholls, *Adelaide*
*After Utopia: Revisiting the Ideal in Asian Contemporary Art*, exhibition installation view, Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide, 2017; photo: Sam Noonan

11 Resonating strong ‘Sung into Being’ at QAGOMA: Sasha Grishin, BrisbaneSung into Being: Aboriginal Masterworks 1984–94, exhibition installation views, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2017; photos: Natasha Harth, … — 11 Resonating strong ‘Sung into Being’ at QAGOMA: Sasha Grishin, *Brisbane*
*Sung into Being: Aboriginal Masterworks 1984–94,* exhibition installation views, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2017; photos: Natasha Harth, QAGOMA

12 Creating shape within shape ‘Emu Island’ at Penrith Regional Gallery: Christine France, Emu PlainsEmu Island: Modernism in Place, exhibition installation view, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, 2017, with (from right … — **12 Creating shape within shape ‘Emu Island’ at Penrith Regional Gallery: Christine France, Emu Plains**
*Emu Island: Modernism in Place,* exhibition installation view, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, 2017, with (from right to left): Marea Gazzard, *Crater,* 1963, earthenware, tin and interior glaze, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 2001; Lyndon Dadswell, *Untitled,* c. 1965,
brown gummed paper on metal support and wooden base, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 1980; photo: Silversalt Photography

13 A crucial shift ‘Fred Williams in the You Yangs’: Christopher Heathcote, GeelongFred Williams, You Yangs III, 1963, oil and tempera on composition board; TarraWarra Museum of Art collection, gift of Eva Besen AO and Marc Besen AO, donated through… — 13 A crucial shift ‘Fred Williams in the You Yangs’: Christopher Heathcote, *Geelong*
Fred Williams, *You Yangs III*, 1963, oil and tempera on composition board; TarraWarra Museum of Art collection, gift of Eva Besen AO and Marc Besen AO, donated through the Australian Government’s Cultural Gifts Program, 2008; © Estate of Fred Williams

14 Both sides of the picture: Writing Whiteley on TriaL: Gabriella Coslovich, MelbourneDetective Senior Constable Justin Stefanec and the writer examine Big Blue Lavender Bay — 14 Both sides of the picture: Writing Whiteley on TriaL: Gabriella Coslovich, *Melbourne*
Detective Senior Constable Justin Stefanec and the writer examine *Big Blue Lavender Bay*

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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