Review: Dave Marshall's Terrestrials

In the beginning there was darkness Te Kore, Ranginui (the sky) and Papatūānuku (the earth) were fused together along with all their children, including Tāne Mahuta (god of the forest). It was very cramped. Tāne wanted to let light into the world, Te Ao, so he violently split Ranginui and Papatūānuku apart into the world and brought his siblings along with him, who became gods of the natural world. In this world of Te Ao (light) and Te Pō (the darkness), Tāne became the ātua of the forest.

Hana Pera Aoake is an artist and poet based in Te Whanganui-a-tara, Aotearoa. Hana primarily works collaboratively within the indigenous art collective Fresh and Fruity with Mya Middleton, which initially started as an ARI based in Ōtepoti.  Hana is currently studying towards a Master of Fine Arts degree at Massey University. Hana is a Pania of the digital reef #online.

Amanda Ribas Tugwell is a Melbourne-based art writer and the manager of Fox Galleries in Collingwood. Last based in Berlin, she was the Art Editor of Exberliner magazine and Assistant Editor of The Parachute Paradox by artist Steve Sabella, published by Kerber Verlag. She holds a bachelor’s degree in photography & media from California Institute of the Arts in Los Angeles. 

Dr Sean Lowry is a Melbourne-based artist and writer. He holds a PhD in Visual Arts from the University of Sydney and is currently the Head of Critical and Theoretical Studies in Art at the Victorian College of the Arts, University of Melbourne. Lowry has exhibited extensively, both nationally and internationally, and his published writing appears in numerous journals. His conceptually driven practice employs strategies of concealment, subliminal quotation, erasure, remediation and intermedial expansion to explore the outermost limits of the world of a work of art. He is also Founder and Executive Director of Project Anywhere (, and one half (with Ilmar Taimre) of The Ghosts of Nothing ( (

Adelè Sliuzas is an Adelaide based arts writer and curator. She is currently studying postgraduate Art History at Adelaide University and has a BFA from the University of South Australia. Her writing has been published in Artlink, Fine Print Magazine and Runway

Bermuda Triangle: Repertoires of Contention

Repertoires of Contention curated by Ivan Muñiz Reed brings together the work of Tony Garifalakis and Mexican artist Joaquín Segura for an exhibition at Gertrude Contemporary. The works vary in mediums—including video, tapestry, screen-print, vinyl and found banners—and broadly deal with power structures and their popular opposition. Muñiz Reed employs the term ‘repertoire of contention’ in his catalogue essay to identify these spontaneous tactics.

Emanuel was born in Costa Rica in 1986. He studied Fine Arts at the University of Costa Rica, San José, Costa Rica from 2005-2012, and at the Kunsthochschule Weissensee, Berlin KhB, under the German Academic Exchange Service (DAAD) from 2013-2015. He is currently a PhD Candidate at the Victorian College of the Arts, University of Melbourne, where his research examines images as elements in the construction of memory and knowledge, via databases, printed photos, and digital resources. These images are enhanced and distorted, to modify meaning and agency.


Kevin Chin’s paintings assemble fragments from across continents, to contemplate pressing issues of belonging and alienation. He questions nationalist ideals at a time of global migrant crisis and greater cultural flows. He has exhibited extensively around Australia, and has had solo exhibitions at Art Stage Singapore and Youkobo Art Space Tokyo. Chin was the winner of the 2015 Bayside Prize and has been awarded multiple grants from the Australia Council, City of Melbourne, Ian Potter Cultural Trust, and National Association for the Visual Arts. 

Kevin Chin is represented by THIS IS NO FANTASY + dianne tanzer gallery.

Morgan Thomas teaches courses in art history and film and media studies at the University of Cincinnati. At present she is also working on a study of the ‘unconscious optics’ of judgement and authority in post-war realist cinema as well as new forms of data collection, e.g. police dashcam and bodycam recordings.

Everywhen, elsewhere

In contemporary art writing and criticism, the recurring figure of the platform underscores themes of structural uncertainty and indeterminacy. The figure of the platform is also regularly put to work in contemporary art exhibitions, with their project-based initiatives, limited time-frames and borrowed spaces. In each instance this notion is designed to evoke the horizontal functionality of a provisional set-up made for a certain moment. But there is also the idea of a zone that is somewhat elevated, apart, and at a remove from things.