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Ibiye Camp, Floating Powerhouses, 2025.
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ISSUE 60.2: THE RECURRENT
Edited by Jeremy Eaton and Chloe Ho
The Recurrent turns toward what returns: memory, extraction, colonial residue, and the aesthetic forms that keep re-surfacing across geographies and practices.
The issue includes articles, conversations, and creative work by our esteemed contributors
Rémy Mallet,
Stephen Naylor,
Samantha Comte, Spiros Panigirakis, Helen Hughes, Masato Takasaka,
Helen Curtis,
Sarah Miller,
Meera Menezes,
Mikala Tai,
Amy May Stuart,
Claire G Coleman,
Yu-Chieh Li and
Tracey Lock.
The issue features Australia’s history at the Venice Biennale, Stolon Press, Paul Ritter, ARX, Artists from West Africa, Gertrude Contemporary + much more
The issue includes a new artist commission by London and Sierra Leone based artist Ibiye Camp ‘Floating Power Houses’ and a discussion with
Rhiarna
Dhaliwal about Camp's new work.
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La Bouche du Roi, Romuald Hazoumè, 1997-2005.
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Rémy Mallet engages readers with the practices of four powerful voices from West and Central Africa—Romuald Hazoumè (Benin), Tidiane Ndongo (Mali), Alexandre Kyungu Mwilambwe (Democratic Republic of Congo), and Roméo Mivekannin (Benin/Côte d’Ivoire).
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Daniel von Sturmer, The Object of Things, 2007.
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Stephen Naylor guides us through the history of Australia's representation at the Venice Biennale, and scrutinises the often opaque and contentious selections process that has informed Australia's presence at Venice.
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Clinton Naina, Heritage Colours, 2025. Photo: Christian Capurro.
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The following roundtable hosted by previous Gertrude Contemporary director Samantha Comte with Helen Hughes, Spiros Panigirakis and Masato Takasaka explores the second exhibition in Gertrude's series
Past is Prologue: Four Decades of Gertrude. Together they discuss the conceptual, temporal and historic underpinnings of 1964, 1969, 1977, 1995, 2000, 2005, 2025.
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Gregory Hodge studio view Paris, 2024. |
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Mikala Tai touches base with Australian artists now based in Thailand, the US and France—Abdul Abdullah, Nabilah Nordin, Nick Modrzewski, Gregory Hodge and Clare Thackway—and considers the historic and ongoing necessity for Australian artists to practice abroad.
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DISPATCHES FROM KOCHI by Meera Menezes
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Image courtesy of the Kochi-Muziris Biennale Foundation. |
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‘Dispatches
from Kochi’ is an unfolding suite of texts by Meera Menezes about artists participating in the 2025 Kochi-Muziris
Biennale curated by Nikhil
Chopra with HH
Art Spaces. Chopra's For the Time Being invests in friendship economies and invites audiences to embrace process as a methodology.
Like the biennale, ‘Dispatches from Kochi’ unfolds over the next few months. Each Dispatch will profile an artist participating in For the Time Being, giving readers an opportunity to learn about their concepts, processes and to hear how their work
will unfold during the exhibition.
The Dispatches will culminate in guest editor Natalie
King’s
2026 issue ‘Every Heart Sings’ focussed on coexistence, connectivity and artistic process that draws people together.
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Bernhard Sachs in Bernhard Sachs: After History, installation view, Linden New art, 2025. Photo: simon Strong.
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Art + Australia acknowledges that we live and work on the unceded lands of the people of the Kulin nations who have been and remain traditional owners of this land for tens of thousands of years, and acknowledge and pay our respects to their Elders past
and present, and emerging.
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