Memo Review
Melbourne Art Fair & Spring 1883

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 (...

David Wlazlo
Troy Ramaekers, 'Double B-Sides' at Five Walls Projects, by David Wlazlo

Troy Ramaekers, Double B-Sides Photo credit: Tim Gresham

Troy Ramaekers, Double B-Sides, Five Walls Projects, April 4-21, suite 3, lvl 1/119 Hopkins St, Footscray.

Troy Ramaekers’ current exhibition at Footscray gallery Five Walls, titled Double-B Sides, features four deceptively simple paintings. The artist has stretched large canvases, taller than wide, and around the edge of each is a bleeding red border. This border contains a trace of the stretcher behind the canvas as well as the...

David Wlazlo
Joseph Kosuth, ‘A Short History of My Thought’ at Anna Schwartz Gallery, by David Wlazlo

Joseph Kosuth, 'Neon', 1965. Photography: Zan Wimberley. Courtesy Joseph Kosuth Studio and Anna Schwartz Gallery.

Joseph Kosuth, A Short History of My Thought, Anna Schwartz Gallery, Melbourne, 7 October–25 November 2017

Coupled with the pervasive hum of the neon transformers, Joseph Kosuth's A short history of my thought at Anna Schwartz Gallery is a grab-bag of his past fifty years working with neon. Far from any noir promise historically associated with the technology, the neon works—...

David Wlazlo
'Future Eaters' at Monash University Museum of Art, by David Wlazlo

Future Eaters, MUMA, 2017.

'Future Eaters', Monash University Museum of Art, 22 July – 23 September 2017

Asking the viewer to consider sculptural responses to our technological present, Future Eaters presents a series of works that are diverse, divergent, and in many ways reductive of the ways technology is involved in our lives. Technology here—like sculpture—is equated with hardware. Of course this is a ‘common sense’ understanding of the technological, but as a premise for a show it s...

David Wlazlo
'Restless' at VCA Margaret Lawrence Gallery by David Wlazlo

Gordon Bennett, A Black History, 1993 (recreated 2017), photo: D.Wlazlo.

Restless, 19 May – 10 June, Margaret Lawrence Gallery, VCA, 40 Dodds Street
 Southbank VIC 3006.

This week marks fifty years since the 1967 referendum and last week at Uluru a meeting of Indigenous leaders met to discuss a united strategy on constitutional recognition. Fifty years is a long time in anyone’s book, and with little material progress toward reconciliation, recognition, and ‘bridging the gap’, there is a...

David Wlazlo
'Project 17:  Radical Immanence,' Anna Pappas Gallery, by David Wlazlo

Teelah George, Pine, 2017, oil and enamel on linen, 92 x 76 cm

Project 17: Radical Immanence, curated by Chantelle Mitchell, Anna Pappas Gallery, 2-4 Carlton Street, Prahran. 10th February – 18th March.

In Radical Immanence, curator Chantelle Mitchell aims to present artists sincerely engaged with their material. And it is around the idea of the sincere that the exhibition as a whole both coalesces and dissolves. On the one hand, the idea of sincerity asks us to consider the artist as...