di'van Issue 8
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When
d iˈv a n | A Journal of Accounts offers critical interpretations on contemporary art and culture, and its broader historical, socio-political, and theoretical contexts, from the greater Asia (Middle East, South/Southeast/East Asia and Asia-Pacific) regions which determine historical and current socio-cultural affinities with contemporary Australian art and society.
CONTENTS
Parergon
ALAN CRUICKSHANK
Going Over the Edge: COVID-19, the Global Artistic-Industrial Complex and NIRIN
PAUL GLADSTON
No Centre or Periphery: Powerful Objectives
ANDREW RENTON | BROOK ANDREW
Seismic Moments
DIANA CAMPBELL BETANCOURT
A “Real Allegory” of Manual Labour in The Age of Global Capital
MURTAZA VALI
The Nemesis and The Muse: E. Phillips Fox’s Cook and Daniel Boyd’s Pirates
UNA REY
A Perfect (Shit)Storm: On Memes, Movements and Geopolitics
STEPHANIE BAILEY
Plurality of Memory: History Projects, Diaspora and Nationalism
GENEVIEVE TRAIL
Wawasan 2020: At the End of the Day Even Art is Not Important
YAO SOUCHOU
Into the Void: Concealed Histories, Buried Memories
REUBEN KEEHAN
Frangipani on the Grand Canal: The Art of Yuki Kihara
ANDREW WOOD
Published by DI'VAN ART JOURNAL (Alan Cruickshank) and UNSW Arts, Design & Architecture
Editor: Alan Cruickshank
Contributing Editor: Paul Gladston
Design: Alan Cruickshank
ISSN 2207-1563
© Copyright 2020 Alan Cruickshank in conjunction with UNSW Arts, Design & Architecture, Sydney, the authors, and artists.

Image: Ali Cherri, from the 'Grafting' series 2019. Head of a Lobi protection figure–Sandstone Buddha bust (Thailand, Ayuthaya Kingdom, XVth century). Kochi-Muziris Biennale 2020: In Our Veins Flow Ink and Fire. Courtesy: the artist and Imane Farès, Paris