Issue

CAVELLINI and SHOZO SHIMAMOTO, performance at Shitennoji, 1986, Osaka, courtesy Shozo Shimamoto.

The post-colonial body in contemporary Japanese art

MIKE PARR, Daybreak, 1995. Photograph Neal Oshima.

The Artist Dances

MIKE PARR, Daybreak, 1995. Photograph Neal Oshima.

The Perils of Performance

Specific clan identity and acknowledgement of achievement is demonstrated in the bilas of this dancer from Mekeo (Central Papua) Photograph Cochrane PNG Archives, University of Wo

Metaphors of Identity

Pekara Tanah, ‘Land Issues’ exhibition T-shirt, 1995. Photograph Astri Wright.

A Taste of Soil

Masami Teraoka at work, 1986.

Panoramic Teraoka

Postcards as Signatures of Place

Postcards as Signatures of Place

BRENDA L CROFT, Strange Fruit- Billie, 1994, each 29 x 23.5 cm, cibachrome, courtesy Boomalli Aboriginal Artists Co-operative.BRENDA L CROFT, Strange Fruit- Walyer, 1994, each 29 x

Strange Fruit

Singapore Art Museum

Singapore Art Museum

JIN WEIHONG, Figure Paintings, Chinese ink on paper.

Beijing Report

DAN RARALIO, Mental Block, 1995, synthetic marble and steel, 17 x 64.5 x 49 cm.

Pillow Talk

MAGDALENA ABAKANOWICZ, Geminati, 1990, birch branches, gauze, burlap and wire (foreground); Infantes, 1992, thirty-three burlap resin figures (background).

After Hiroshima

DOMENICO DE CLARIO, Seven-ness: Sub Lunar, April-October 1995, performance, Museum of Modern Art Heide.

Early Morning llluminations

TAWATCHAI PUNTUSAWASDI, Standing Egg, 1994, wood, water, steel, 350 x 210 x 70 cm, 1995 Osaka Triennale.

Osaka Triennale 1995