Lucy Forsberg is an artist, writer and curator based in Brisbane. Their visual practice utilises new media, assemblage and sculpture to examine socio-political issues within the Australian Landscape. Forsberg's research is informed by ecological economics, addressing the nexus between environmental, social and economic systems. Lucy has exhibited throughout Australia and was awarded the 2017 biennial Jeremy Hynes award for emerging and experimental Queensland art practice. Forsberg is a founding co-director of Brisbane ARI Cut Thumb and co-directed the Metro arts 2017 ARI-In-Residence. Lucy is currently working with NAVA on the first regional Artist-Run-Initiative knowledge exchange program.

Jane Wallace is a writer and an art history student based in Te-Whanganui-a-tara. Jane is the 2018 Visual Arts Editor for Salient, and was awarded Highly Commended for her entry into the 2017 Chartwell Art Writing Prize.

Tamara Marwood is the creative director of Create Business a consultancy where she makes, plays and creates with other enterprises, based in Bendigo. She was the founding director of Allan’s Walk Artist Run Space, no longer in operation and has curated the regional program and touring program for Next Wave Festival.

A Residency on Earth

Artists have long used Earth as the matter from which to create. To carve, to manufacture pigments and represent mysterious forces of life the Earth itself contains, the prima materia – the formless base of all matter. Land artist James Geurts borrows the measuring tools of a geologist to interact with and present the Earth and its hidden mysteries underneath the city of Bendigo. The result is the body of work Seismic Field. He maps, sculpts and measures formations both ancient and man-made.

What’s still wrong with Relational Aesthetics: teamlab VS Arboria.

The first thing you are bound to notice when you enter the NGV Triennial’s Moving creates vortices and vortices create movement (teamlab 2017) is that it looks almost nothing like the promotion material. What had appeared to be a large calm environment is in fact a small room with mirrored walls creating an illusion of space, which is spoiled by being part of a cramped conga line of viewers urged to keep on moving anticlockwise through the work and straight onto the next triennial highlight.

Review: Kushana Bush, The Burning Hours

The Burning Hours, a solo exhibition of paintings by Kushana Bush at Te Uru Waitakere Contemporary Gallery in Auckland, takes its name from Christian devotional books popular in the Middle Ages. These illuminated manuscripts, which bore names such as The Beautiful Hours, The Very Rich Hours, The Small Hours, and The Black Hours, were private prayer books to be used at the divine office.

Erena Shingade is a poet and arts writer from Auckland, New Zealand. Her work has been published by platforms such as Landfall, The Spinoff, Minarets, Mimicry, Blackmail Press, Atlanta Review, Ka Mate Ka Ora, and the New Zealand Electronic Poetry Centre. After completing an MA thesis on the Zen Buddhist poetry of Richard von Sturmer in 2017, she continues to research the intersection of the poetic and the religious. During the day she works as a publicist for Allen & Unwin.

Emily Castle is a writer and educator living in Narrm whose work has appeared in un magazine, New Matilda and Overland. Emily co-founded Brainlina collective in 2015 and also works with Undercurrent Community Education Project.

Defying Empire: 3rd National Indigenous Art Triennial

In the final room of the 3rd National Indigenous Art Triennial, held on Ngunnawal-Ngambri Country at the National Gallery of Australia earlier this year, a black dress stands in the corner. At first appearing to be made of coarse black fabric, charred from fire and ragged with holes, it becomes apparent as you approach that the dress is made entirely from kerliggener (bull kelp).

Helen Johnson—Ends

Helen Johnson’s exhibition Ends at New York’s New Museum, consists of six paintings presented in three pairs: Self painting and Death painting (knowledge transfer ghoul); Grandmother painting and Mother painting; Child painting and Faith painting (all 2017). These three pairs establish an emphasis upon duality that is carried throughout a hang, which, like many of Johnson’s exhibitions, presents both the front and back of each canvas.