World Food Books, August 3 – September 1, 2018
By Giles Fielke
There is an overwhelming temptation to fill in the constitutive blanks where an artist’s life should be, but here there is no artist, only the artworks remain. The evidence of the so-called Philadelphia Wireman’s life is patchy, effectively non-existent. Enough facts remain, however, to establish a scene. Twelve of the some 1200 small, meticulously bound-in-wire sculptures and drawings found dumped in a lan...
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...
Lucina Lane and Nigel Lendon Teach the Kids to Strike
Neon Parc, 18 May – 16 June
By Gile Fielke
I’ve not noticed the terazzo tiles on the floor of Neon Parc’s city gallery. And I’ve been visiting shows at the Bourke Street space for years now. It took Lucina Lane and Nigel Lendon’s collaborative exhibition Teach the kids to strike for me to look hard at just how extraordinarily worn the floors really are. When I ask gallerist Geoff Newton about this, he unpretentiously admits that the...
Samraing Chea, Untitled (March 29th 2017), 2017, pencil on paper, 29.5 × 40.5 cm, courtesy the artist and Arts Project Australia. Photo: Andrew Curtis.
Samraing Chea, Universal Drawings, proposed by Rob McHaffie and Matlok Griffiths at Reading Room, 3 March—24 March 2018
Universal Drawings is an appropriate title for the exhibition of 41 works by the artist Samraing Chea currently on show at Olivia Radonich’s new city central gallery, Reading Room. A thoroughgoing millenial subject —...
Richard Mosse, Incoming, (2015–16), three channel black and white high definition video, surround sound, 52 min 10 sec (looped).
Triennial, NGV International, December 17, 2017 – April 15, 2018.
Buried within the question recently explored by Felicity D. Scott, ‘Who is the festival for?’, is the rapidly fading possibility of a public. It is a discourse that seems to slip too easily into arguments about the centrist compromise of regulated-, or neo-liberal, architectures of the state. The...
On Campus at Monash University, February 14 – 15, 2017
Retrospective Hypothesis: On Campus curated by Raimundas Malašauskas, at Monash University, February 14 – 15, 2017
'It is said that the voice rips open reality'. This is apparently the only utterance I had thought worthwhile writing down into the blank, A5-sized notebook I had been supplied with at the beginning of On Campus. I cannot recall who suggested this maxim in the course of the two-day program that took place at Monash Univ...
Open Spatial Workshop: Converging in time, installation view: Monash University Museum of Art, Melbourne, 2017. Photo: Andrew Curtis
Open Spatial Workshop, Converging In Time, Monash Museum of Art, 11th Feb – 8th April 2017
Somewhere between geology, geography, colonisation and resource extraction is where Open Spatial Workshop (OSW) attempt to situate their highly conceptual, sculpture-based exhibition entitled Converging In Time. A huge, fossilised Kauri tree log found within a coal...
Lucina Lane Range, (2017) Photo: Christo Crocker.
Lucina Lane, Range, White Cuberd, 8pm-10pm, 15 January 2017
Off-site art exhibitions have seen something of a resurgence in Melbourne over the past few years. There are a number of reasons for this, not the least being the rapidly rising cost of rent in the city, which seems to force a commercialise or perish imperative on artists exhibiting work early in their career. Mediating the reappearance of ‘recession art’, as Peter Cripps termed...