Amy Ireland is currently writing a PhD on xenopoetics at the University of New South Wales. She teaches philosophy and creative writing, and is a component of the technomaterialist, transfeminist collective Laboria Cuboniks. Recent work can be found in After Us, Runway, Rabbit, e-flux, and Flash Art, and forthcoming in collections from Univocal, Punctum and

Mark Feary is Artistic Director, Gertrude Contemporary, Melbourne. He has worked in curatorial and programming roles at the Australian Centre for Photography, Sydney; Artspace, Sydney; Tokyo Metropolitan Museum of Photography; Centre for Contemporary Photography, Melbourne; and West Space, Melbourne.

Chantal Faust is an artist and writer. She completed her PhD on scanning and pleasure at the VCA in 2008. Chantal is currently a senior tutor at the Royal College of Art in London, where she oversees the delivery of Critical and Historical Studies for the School of Fine

Dr. Astarte Rowe received her PhD in Art History from the University of Melbourne. Her articles appear in the International Journal of the Image, World Art, the Australian and New Zealand Journal of Art and the Newfoundland Quarterly.    

Sigi Jöttkandt teaches English at UNSW, Sydney. She is the author of Acting Beautifully: Henry James and the Ethical Aesthetic (2005), and of First Love: A Phenomenology of the One (2010). Sigi has published widely on psychoanalysis and literature and has edited S: Journal of the Circle for Lacanian Ideology Critique (www.lineofbeauty.orgsince 2008She is also a co-founding Director of Open Humanities Press (


Imants Tillers is an artist, writer and curator. He has exhibited extensively since the late 1960s, and has represented Australia at significant international exhibitions including the Sao Paulo Biennial (1975), Documenta 7 (1982), and the Venice Biennale (1986). He is known for large-scale canvasboard paintings that intuitively combine existing artworks, literature and 'ready-made' poetry. Tillers is currently working towards a major retrospective at the Latvian National Museum of Art in 2018. 

Phuong Ngo: Post-Apocalypse Now

Since 2010, Phuong Ngo has collected over 10,000 objects documenting the ‘Vietnam War’ (as it is commonly known in the West), these range from stamps to slides and postcards to complete photographic albums. For Conflicted: Works From the Vietnam Archive Project at The Substation, the artist fills 11 gallery spaces with the first installment from his project to re-evaluate dominant perceptions of the Vietnam War.

The Art of Juxtaposition

Over many years and countless visits to the Art Gallery of SA, I’ve been aware of the Gallery’s significant collection of sculptures by Auguste Rodin (1840-1917). Over those years, these sculptures have occupied various locations within the Gallery and I was reminded of them when I first saw Dr Who’s adversaries, the villainous Weeping Angels, who resemble classical marble sculptures but who move about when you’re not watching them and cast their victims into another time zone.

Decolonising the ‘Postcolonial’

If postcolonial art has a style, it is appropriation, or rather, re-appropriation, as it tends to rework colonial imagery. This reworking is what earns it the descriptor post-colonial (though you might be forgiven for wondering if colonisation could ever truly be over). Postcolonial art is more a genre than a style, and a genre that introduces a certain wit and lightness to subjects that formerly had been heavy with remorse and guilt. Instead of the fatal shore, a carnivalesque upside-down world is reimagined, in which the normal order of things is undone.

Marie Geissler is a PhD candidate at the University of Wollongong. Her thesis title is Arnhem Land Bark Painting, The Western Reception 1850-1990. She has a Graduate Certificate of Art from the University of Sydney, a Bachelor of Science from the Australian National University and is the co-author of Yannima Pikarli Tommy Watson (2010), Thames and Hudson. She has written extensively for Craft Arts International on the visual arts (acting for many years as the Assistant Editor) and published over one hundred and fifty articles ranging from profiles on artists to collections, books and exhibition reviews in Australia and overseas.