Victoria Perin
I will never run out of lies nor love

I will never run out of lies nor love

Bus Projects
10 July – 3 August 2019

By Victoria Perin and Brendan Casey

π.o.—Melbourne's preeminent anarchist/poet/DIY art historian—has observed a deep gulf between literature and the visual arts in Australia and speculates that Ern Malley is to blame. Before Ern, so the argument goes, art and letters co-existed in a collaborative landscape, evidenced in no small part by Angry Penguins the wartime journal that printed Ern's hoax poems in 1944, and...

Victoria Perin
Isabel Davies: Recent Geometric Constructions

Isabel Davies: Recent Geometric Constructions

Stephen McLaughlan Gallery, Level 8, Room 16, Nicholas Building
1 — 18 May 2019

By Victoria Perin

The 90-year-old Melbourne artist Isabel Davies is meticulous; you can tell from her website. On the internet, Davies has self-curated images of her work into a mighty retrospective exhibition. In her 'about the artist' section, she features organised binders of archival documents—neat, plastic-sleeved press clippings—as well as candid photograph...

Victoria Perin
Papermade | John Nixon: Screenprints, Woodblocks & Unique Relief Prints

Papermade

Australian Galleries, 28 & 35 Derby Street, Collingwood26 February 2019 — 17 March 2019

John Nixon: Screenprints, Woodblocks & Unique Relief Prints

Negative Press, Factory 8/102 Henkel Street, Brunswick16 February – 9 March 2019

By Victoria Perin

Exhibitions are usually talkative. They start off with the artist's or curator's statements and then usually just chat away with their personalised terminology and their free-associations. I intended to review the Australian Gallerie...

Victoria Perin
Sweeney Reed and Strines Gallery

Sweeney Reed and Strines Gallery

Heide Museum of Modern Art, 7 Templestowe Rd, Bulleen, Victoria, 25 August 2018 – 24 February 2019

By Victoria Perin

PLEASE NOTE: this review contains mentions of suicide and child sex abuse.

Melbourne's favourite outta-town gallery hits peak-Heide for its summer shows. Heide's dedicated purpose, a laser-like focus on the circle around patrons John and Sunday Reed, has been disarmingly effective. The propaganda research on the couple is now unparalleled...

Victoria Perin
Baldessin/Whiteley: Parallel Visions

Baldessin/Whiteley: Parallel Visions

National Gallery of Victoria Australia, Federation Square31 August 2018 – 28 January 2019

By Victoria Perin

Together George Baldessin and Imants Tillers represented Australia in the 1975 Bienal de São Paulo. Although Tillers was 25 and Baldessin eleven years older, the artists bonded closely: “George represented the more conservative art world I had just decided to abandon,” notes Tillers in an interview with researcher Nicole Bowller from 2016, “but in...

David Wlazlo
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 (...

Victoria Perin
Unfinished Business: Perspectives on Art and Feminism

Unfinished Business: Perspectives on Art and Feminism

Australian Centre for Contemporary Art, 15 December 2017–25 March 2018

By Victoria Perin

Tomorrow is the last day of Unfinished Business: Perspectives on Art and Feminism at ACCA (Australian Centre for Contemporary Art). Hopefully this is a prompt for you to visit (or revisit), because shows like this are rare. Here we are presented with the knowledge (institutional, personal, ancestral, academic) of six curators, thoughtfully draggin...

Victoria Perin
Del Kathryn Barton: The Highway is a Disco

Del Kathryn Barton, The Highway is a Disco

Ian Potter Centre: National Gallery of Victoria Australia, Federation Square, 17 November 2017 – 12 March 2018

By Victoria Perin

Although Memo Review has already examined an exhibition from the National Gallery of Victoria's quadruple billing of female Australian artists (see Paris Lettau's review of Our knowing and not knowing: Helen Maudsley), I believe that as the arts community has directly requested more representation of contemporary...