Homework by Snack Syndicate (Andrew Brooks & Astrid Lorange) collects twenty-seven texts written over the course of 2016–2020. Homework considers the manifold ways that embodied life (birth, death, love, friendship, solidarity, race, gender, sexuality, citizenship) are conditioned by a world that appears both ruinous and full of potential. Snack Syndicate asks how to read ruins and how to read the prophecy of hope that threads together a long history of survival and struggle. The book offers a guide for this reading, taking study to be a lifelong practice. It suggests a model for homework as the promise we make to each other through study and to the ghosts who carry us forward.

Introduction by Tom Melick and designed by Robert Milne.

Elizabeth Newman is best known as a visual artist whose practice encompasses a variety of media including painting, drawing, sculpture, and installation. Writing, too, is central to her art. As indicated by the twenty-five or so texts compiled in this book, all dating from the last fifteen years, Newman’s literary output extends beyond her studio practice. Many of these texts are about artworks and exhibitions—her own as well as those of other local artists: they serve a critical rather than an aesthetic function. As such, these writings offer valuable insight into Newman’s artistic intentions and motivations, and her commentaries on the art of her peers constitute a compelling partial survey of art produced in Melbourne over the last decade and a half.

Edited by David Homewood and designed by Robert Milne.

Edited by Helen Hughes and David Homewood (Discipline Nº 5); Carla Macchiavello and Camila Marambio (Más allá del fin Nº 3); and designed by Robert Milne.

Discipline, Más allá del fin (translating to ‘discipline beyond the end’)—represents an effort to map a South–South relationship between Chile and Australia, and even more specifically, between its southernmost island tips: Tierra del Fuego and Tasmania. For centuries, the Northern imagination conceived of these places as the very personification of distance itself, whereas the editors of Más allá del fin refer to Tierra del Fuego as ‘the centre of the known universe’. In addition to publishing a range of essays on modern and contemporary art, this joint issue recentres and forges new connections between Southern perspectives, generating a dynamic and relational art history of the contemporary.

You can see a full list of contents here.

Edited by Helen Hughes, with editorial assistance by Amelia Winata, designed by Robert Milne & Fabian Harb.

Five of the seven essays in this issue are adapted from papers given as part of the TarraWarra Biennial 2016: Endless Circulation lecture series. This series was formulated as an extension of the Biennial, co-curated by Victoria Lynn, Helen Hughes and Discipline, and as a site for delving into its research focuses on the physical, economic, visual, vir­tual and discursive channels through which artworks circu­late today, and the iterative structures of journals and recursive exhibitions (like biennials, triennials and documenta).