Nicholas Mangan, Termite Economies
Sutton Gallery, 4 August 2018 – 1 September 2018
By Amelia Winata
I noticed when researching for this review that Nicholas Mangan was born
in Geelong, where I, too, was born. And, presuming that Mangan grew up
there, I wonder whether he ever encountered the bizarre CSIRO Animal
Health Laboratory that I lived near. Crowned with an enormous tower
that, in hindsight, might have been a colossal chimney (perhaps for
releasing the smoke and vapour from biologi...
Melbourne Art Fair & Spring 1883
This week Memo Review travels through two art fairs currently open as part of Melbourne Art Week: David Wlazlo and Amelia Winata review the reborn Melbourne Art Fair at Southbank Arts Precinct, and Vicki Perin reviews the third Spring 1883 at The Hotel Windsor on Spring Street.
Melbourne Art Fair
Southbank Arts Precinct, 111 Sturt Street, Southbank, 2–5 August
By David Wlazlo
Maybe it isn’t the best way to approach it, but Melbourne Art Fair (...
Best and Overlooked of 2018
Memo Review asked three of our contributors to write on a show they have especially liked but that we haven't had a chance to review. As a special issue we publish these reviews from Tiarney Miekus, Amelia Winata and Giles Fielke.
Ella Sowinska 80 Ways
recess, Friday 30 March – 30 April 2018
By Tiarney Miekus
Considering the amount of things that can be streamed online (i.e., entire lives), it's peculiar how art is a thing that supposedly doesn't h...
Natalie Thomas and the Women's Art Register Finding the Field
True Estate Gallery, The Alderman, April 11 – May 6 2018
By Amelia Winata
It is no secret that Natalie Thomas, AKA Natty Solo is, quote, "bored of white men." The Melbourne artist who is, perhaps, best known for her blog Natty Solo and for being one half of the collaborative duo Nat & Ali has recently been on the offensive against the National Gallery of Victoria's majority male exhibition history. She has most memorably captur...
Kieran Butler, Rainbow Bois and Magical Gurls, 2018, installation view, BLINDSIDE 2018. Courtesy the artist.
Rainbow Bois and Magical Gurls by Kieran Butler in collaboration with Samuel Beatty, Sabella D'Souza, Dileepa Dayananda, Emma Size & Matthew Varnay. Blindside, 24 Jan – 10 Feb 2018.
A few years ago there was a quasi-theoretical attempt at naming a new cultural epoch to be called “metamodernism.” The term was coined by Dutch philosophers Robin van den Akker and Timotheus Vermeulen w...
Darren Sylvester, Céline, 2017. Courtesy the artist and Neon Parc.
Darren Sylvester, Céline’, Bus Projects, Collingwood. October 4 - 28.
Stepping through the front door of Bus Projects and being met by Darren Sylvester’s Céline, I am reminded of Anna Viebrock’s set design for the exhibition The Boat is Leaking. The Captain Lied at the Fondazione Prada in Venice. Viebrock, a stage designer by trade, was invited by curator Udo Kittelman to take part in the exhibition alongside Thomas D...
Spencer Lai, Mustard (torture device), 2017, synthetic felt, 940 x 720 mm. Image courtesy of the artist and Fort Delta.
Spencer Lai, Contaminant, Figures, Fort Delta, 6-29 July 2017
Spencer Lai's work is part of a contemporary exploration of the grotesque that taps into the destabilising qualities of late capitalism and considers its effect upon issues of identity, including gender and sexuality. This current was picked up on by Jonathan Griffin in his 2012 essay Rudely transgressing th...
Deakin University Art Gallery, Burwood, 26 April – 26 May 2017
By Amelia Winata
I am hesitant to say that I am employed. Although to say I am unemployed
is also incorrect. I do not have a job to go to, but I do have four
email addresses — 1 personal, 3 professional — and from the moment I
wake to the moment I go to sleep my mind is preoccupied with work. The
question is, at what level of productivity am I working? I check emails
when I get up, go to my studio and wr...