This edition of the Artist’s Chronicle marks an incredible 30 years of publishing. A journey through evolving technology has punctuated the decades, as well as the privilege of writing about the visual arts as it unfolded. As we begin the process of gifting our collection of images to the State Library of WA, memories abound and we have a yearning for new ones.

In this edition we see several writers contribute. First up is Ted Snell who reviews A Forest of Hooks and Nails at Fremantle Arts Centre as part of Perth Festival. The tables have been turned as the FAC install crew is let loose to transform the space with their own works. The exhibition underlines the inventiveness of installers, nigh on a prerequisite for the job, but also their usual invisibleness.

Laeititia Wilson visited Lawrence Wilson Art Gallery’s Festival show, Dislocation, a survey of the fascinating work of Olga Cironis.

Aboriginal artist Amanda Bell provides a sneak peek behind Fremantle Arts Centre’s Revealed Exhibition 2021: New and Emerging Aboriginal Artists. The excitement and nerves are palpable as first time exhibitors leave their communities to exhibit in Walyalup (Fremantle).

We visited the Art Gallery of WA for its Festival show, a meeting of music and art by Tim Minchin and Tee Ken Ng, with Ng creating stunning zoetropes for Minchin’s video clip for his song Leaving LA.

Lastly, Annette Peterson spoke with Glenn Iseger-Pilkington, curator of The Gathering at Perth Institute of Contemporary Art, also part of Perth Festival. The exhibition offers an opportunity to reconsider current and past realities with works by Australian First Nations artists and those from Aotearoa New Zealand.

Lyn Di Ciero

Editor