Issue/5/
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Five Elements

An abbreviated account of installation art in South-East Asia


. . . the Occident continues to secure itself as subject, the origin and destination of critical discourses, while simultaneously ignoring the processes and mediations—imperialism, neocolonialism, capitalism, the Western media—that violently brought those differences, those 'natives', those other cultures, into our world, simultaneously shaping and distributing, them.1

Iain Chambers, Migrancy, Culture, Identity, 1994


SIMRYN GILL, Bouquet (Pepper/Piper Nigrum), 1994, cast tin, from Bio-data, Adelaide Installations. Photograph Alan Cruickshank.

This is a brief, probably premature, certainly rash, sketch concerning

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