Aesthetics, Politics and Histories: The Social Context of Art, AAANZ Conference 2018
School of Art, RMIT University, Melbourne
5–7 December 2018
By Audrey Schmidt
Over the last three days, RMIT University School of Art played host to the 2018 Art Association of Australia and New Zealand conference which was intriguingly titled Aesthetics, Politics and Histories: The Social Context of Art. Bringing together art historians, theorists, curators, critics and ar...
Does the art exhibition have a future?
Interview with Catherine de Lorenzo, Alison Inglis, Joanna Mendelssohn and Catherine Speck
This week the Art Association of Australian and New Zealand held their annual conference at RMIT University in Melbourne. Given that nearly all of the writers for Memo Review are art historians, we thought that this week we would take up the subject of art history itself. But also, given that Memo Review reviews an art exhibition every week, we thought it would be...
Mira Gojak and Takehito Koganezawa, The Garden of Forking Paths
7 November 2018 – 17 February 2019
Curated by Shihoko Iida and Melissa Keys
By Rex Butler
It's almost impossible to imagine the influence four small volumes of less than 60,000 words each by the great Argentine writer Jorge Luis Borges exerted on Western culture throughout the latter part of the 20th century. Compiled from a selection of short stories and essays originally written in Spanish in the 1930s...
Clement Meadmore: The art of mid-century design
Ian Potter Museum of Art
20 November 2018 – 3 March 2019
By Jane Eckett
Distinctions between art and design are notoriously difficult to make;
the imperative of functionality is far from unique to design while a
concern with communicative strategies and the formal elements of design
(line, colour, volume and so on) are often common to both. The
popularity of those umbrella terms 'creatives' and 'the creative
industries' in present day usage...
Spencer Lai, A smile forms into a grimace mid-slumber as the earth spins—it's funny, such is the sound of laughter—it is like god's hands on the shoulders of a troubled world
Matilda Davis, Too Many Dinner Parties
31 October – 24 November 2018
By Francis Plagne
The fascination of bad taste continues to exert its somewhat mysterious
pull on certain sub-scenes in the Melbourne artworld. Spencer Lai's
current show in the front room at Bus Projects—part of the gallery's
Lili Reynaud-Dewar, TEETH, GUMS, MACHINES, FUTURE, SOCIETY
Alicia Frankovich, Exoplanets
Monash University Art Museum
6 October – 15 December 2018
By Anna Parlane
The paired exhibitions currently on show at the Monash University Museum of Art (MUMA) are linked by the figure of the prosthetically enhanced, composite or permeable body. Alicia Frankovich's Exoplanets, 2018, and Lili Reynaud-Dewar's Teeth Gums Machines Future Society, 2016-18, both explore territory that can be desc...
Hito Steyerl: Factory of the Sun
National Gallery of Victoria
28 September 2018 – 24 March 2019
By Amelia Winata
Hito Steyerl is arguably the most important "post-internet" artist alive today. Though the history of post-internet art is a nascent one insofar as wide-spread use of the technology is quite a recent phenomenon, the art that responds to it also reflects this ascendency. Ironically, the post-internet 'condition' seems to have had a limited lifespan, the work seeming to confirm...
Biennale of Australian Art
Ballarat, 21 September - 6 November
By David Wlazlo
Lately I have been thinking about the growth and sizes of urban
environments, the infrastructure required to sustain them as well as the
potential limits on their growth. Can a city keep growing indefinitely
and remain 'liveable,' whatever that means? Or is there some kind of
limit—environmental, infrastructural, political—to the amount of
people a city can sustain? What is the size of a city best suited to