• Best and Overlooked of 2018
    Recess, Ian Potter Museum of Art, Gertrude Contemporary
    18 Feb –
    18 Feb 2020
    By Giles Fielke, Amelia Winata, Tiarney Miekus
    21 Jul 2018

    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)(https://www.newyorker.com/magazine/2018/07/09/ice-poseidons-lucrative-stressful-life-as-a-live-streamer)), it's peculiar how art is a thing that supposedly doesn't happen on the internet. The reasons seem transparent; for some it's a kind of moralism, the belief that aesthetic transaction happens in the flesh, not the digital, or that something vital is lost in virtual spaces (even though many of the artworks I've felt to be profound were witnessed not in life, but in a more archaic form of reproduction: books). For others it's the nervous conviction that people will stop attending galleries and museums IRL, or, my more sinister suspicion, that non-commercial galleries and museums haven't yet figured out how to monetarise online space in the name of Art. The website is thus relegated to being the gallery's most essential promotional tool, and what makes the Naarm/Melbourne-based online publishing platform recess so valuable is how the website is the exhibition space.

    Ella Sowinska, 80 Ways, 2018, film still. Image courtesy of recess.

    Started in 2016, and co-organised by Nina Gilbert, Kate Meakin and Olivia Koh, recess is a site where you can stream moving image works. Each piece is given an exhibition date, and during this period is featured on the home page—after the 'show' is over the work moves to a side-bar, able to be streamed at any time. Extending the physical and temporal boundaries of the conventional gallery via an online publishing platform isn't necessarily a new idea, but for all its supposed obviousness, it's actually a rarity.

    So far recess has shown 13 moving image works and, at the end of March this year, published 80 Ways by artist and filmmaker Ella Sowinska. It's an experimental take on personal documentary, where Sowinska films her mother—who writes online erotica under the pseudonym Sandy Mayflower—as she in turn films one of her self-published stories. The narrative is simple: it involves Claudia, who regularly travels internationally for her work on a water conservation project, and on each continent pursues a man for her sexual conquest. We get to witness flashes of this story, but our eyes are mostly directed toward Sowinska, Mayflower and the film crew, and we watch as they work with two actors to recreate the scenes of Mayflower's fantasies.

    Ella Sowinska, 80 Ways, 2018, film still. Image courtesy of recess.

    Amounting to a performed erotic space where the boundaries and power relationships between every person (actor, director, daughter, mother, lover) are continuously defined and re-defined, the central sexual encounter unfolds in every direction but sexy—desire and performance feel comic, excruciating and awkward, miraculously drifting between the utterly conscious and the completely unconscious. Two actors use their intuition to act out 'the deed', while Mayflower gives broad direction, enjoyably watching the pair. Meanwhile we look on as Sowinska watches her mother live out these fantasies, a view that reflects back onto the mother/daughter relationship and Sowinska herself. It's almost a therapy session, where the series of diegetic performances show each level performing stories and versions of reality, or articulations of desire, for another viewer. Yet the truly emotional and intimate moments of connection come when the performance fails or lapses.

    If 80 Ways is broadly concerned with the circulation of unconscious desires, constructed situations and projections of fantasy, then it's perfectly placed in a space where such circulation is the modus operandi—a space where people are curiously determined to perform their best lives at every moment: the internet. There is an intensity to watching a short film on a device (laptop, phone, iPad) that's already carting around the huge anxieties and joys of performance, authenticity and desire—once you leave the film, you don't get any relief from the layered conflations of performance and intimacy; instead, it intensifies.

    If 80 Ways had been shown in the neutral space of the gallery it would still be an extremely fulfilling work, but this intensity might not hold such gravity: the questions of performance and articulating desire wouldn't linger with similar urgency, or seem to connect so fluidly to lived experience. The importance of online context is relevant to encountering many of the works on recess. As well as widening publishing opportunities and critical accessibility, the greater triumph is how it provides moving image works a non-neutral and intensely loaded space, granting many of the videos more implicit and complex associations than what the white wall, or the darkened room, would be able to offer.

    Tiarney Miekus is a Melbourne-based writer.

    Meredith Turnbull: Closer

    Ian Potter Museum of Art, University of Melbourne, Tuesday 27 March – 1 July 2018

    By Amelia Winata

    Meredith Turnbull's Closer was a two-part exhibition that presented objects from the University of Melbourne collection alongside photographic prints of those same objects. Spanning two galleries of the Ian Potter Museum, Closer acted as part of Turnbull's ongoing investigation into the blurred boundaries between craft and art with a capital 'A,' insofar as she questioned the status of the collection of functional objects both within the real space and then within the photograph. The objects were arranged sometimes in collections, such as a group of Czechoslovakian paperweights, but not in any particular historical manner. A collection of British pickle jars from the 1880s sat alongside a Chinese vase dating back to 1750 and an 'Etruscan bowl' from the contemporary Melbourne collective DAMP, dated 2013. Turnbull's photographs, each depicting one item from the selected collection pieces, lined the walls of the gallery. Set against background of bright monochromes or draped fabric, the photographs forced viewers to slowly experience the entire exhibition; viewers could not help but begin to match the object with its photograph.

    Meredith Turnbull, Closer 2018, installation view, Ian Potter Museum of Art, the University of Melbourne. Photographer: Christian Capurro.

    Turnbull showed absolute respect to the many makers who had crafted these pieces—the bulk of whom were unknown. A lengthy (albeit somewhat difficult to follow) twelve-page room sheet labelled each and every one of the items with as much provenance information as possible—this process, too, demonstrated the haphazard past collecting styles of museums, insofar as many items had very little information. As a matter of fact, the feeling that these pieces elicited in the viewer was unexpected. I was deeply moved, for instance, by a small wooden sugar scoop by David Innes dated 1975–6. Displayed on Turnbull's low chipboard table, and affixed by a simple metal fastener, its existence as the product of skill and labour became breathtakingly apparent. Certainly, the artist appears to have been drawn to objects from the 1970s, a period that, most could agree, was not the height of objects of aesthetic value. Yet, Turnbull revealed that even these pieces, such as a 1971 garish blue stoneware urn by Alan Peascod, can also be beautiful despite their dated style.

    Aside from investigating the lines (or lack thereof) between art and craft, there were actually more interesting micro-concepts at play in Closer that gave it nuance. Closer honed in on the notion of the museum as a repository of lost histories and skills, bringing together thousands of accumulated years of knowledge and craftsmanship. And, in so doing, Closer refused the Wunderkammer binary that museum collections are regularly presented as. While, traditionally, these objects might have been displayed in vitrines, here they existed in the open air, without a barrier between them and the view.

    Meredith Turnbull, Closer 2018, installation view, Ian Potter Museum of Art, the University of Melbourne. Photographer: Christian Capurro.

    Turnbull also built tables to house the collection objects. With their multi-coloured legs and semi-circle structure, they might have been twee on their own. But when in contact with the historical pieces, a strange sense of historical levelling out—an ahistoricity—took place; it was as though the history couched in terms of the artefact and the zero age of the contemporary platforms they were on cancelled each other out. No doubt, there was a utopian impulse that ran through Turnbull's exhibition. But I don't care if you think utopian is a dirty word; here I use it positively. While there maybe is no such thing as a world where objects are all given equal significance—where a simple wooden bowl is seen as just as valuable as a Roman jug—surely we can argue, at the very least, that one of art's functions is to clear the space for seeing things differently, even if, in the real world, that microcosm cannot materialise. This was the strength of Turnbull's exhibition: to use art to propose new ways of existence, as 'model' not as 'fact'. This, of course, is not dissimilar to the rhetoric of avantgarde artists, only here Turnbull looks back into the past to create her utopian vision.

    Amelia is a Melbourne-based arts writer and PhD candidate in Art History at the University of Melbourne.

    Zac Segbedzi and Friends (enemies) Early Career Group Show

    West Space, Friday 5 July – 18 August 2018

    By Giles Fielke

    A black and white image of the contemporary pianist Javier Perianes, a photograph of a cute miniature donkey on Instagram, and a punctuation mark are the promotional material given for a retrospective hybrid solo/group show of work by Zac Segbedzi, titled Early Career Group Show. This is all that appeared before the exhibition opened at West Space, at which time a real miniature pony (apparently toy donkeys don't live around here) arrived with the artist in the gallery, accompanied by hired piano muzak. A digital flyer for the show was also circulated online, made up of parodies of conversations adapted from local commentary on the contemporary art scene in Melbourne: the police, arts administration, theory of exhausted narratives, etc. This is Segbedzi's artistic gambit, one could call it a self-conscious performance of the online troll—usually encountered as a 4chan Incel/Cuck, a confused and/or sick teenaged boy—assimilated to a particular subjectivity as the model of the contemporary artist. The works by Segbedzi, and his friends (enemies), conspicuously installed and mostly wall-mounted paintings, are not uninteresting to encounter in this space, however. Seeing past the defensively "Punk" façade, they become the grotesque results of modernism's forcible mashing together of art and life, a negative Frankenstein. Alt-art that feels very 2018—not just painting and installation, a performance.

    Early Career Group Show, installation view. Image courtesy Jacqui Shelton.

    The idea of a systematic program for the atrophied breeding of an animal-slave, to the status of lap-dog pet (the small donkey/pony) actualises the sentiment that Segbedzi seems to hold towards the contemporary arts in Australia and in particular Melbourne's inner-west. Stranded on islands in the Mediterranean basin, the animals became tiny. This gesture towards isolated purity is mirrored, perhaps, by the gridded paintings he made and first showed in series at Monash University's MADA studios last year. The (literally) hidden centre of the show, large and calmly offensive swastikas painted on cotton duck within the grid format are included in the retrospective under paper wrapping (censored by the gallery, not the artist; the text makes sure to make the point), suggest a niche scene that takes its references from the bad boys of contemporary painting: some older—Michael Krebber or Merlin Carpenter—or current "stars" like Mathieu Malouf and Jordan Wolfson, or even Chief Keef's Glo Gang enterprising from Chicago drill music to the LA gallery scene. (I also think of Dean Blunt's contemporary art debut, featuring only freshly delivered McDonalds while a siren played on loop in the downtown LA art space.)

    Other than the glut of large and cumbersome works by Segbedzi in the show, works by artists (in no particular order) Katherine Botton, Liam Osborne, Grace Anderson, Natasha Havir Smith, Calum Lockey, Hana Earles, as well as a wall-text biography of far-right German AfD politician Alice Weidel, which seems to credit her as an artist in the show, serve to create a sense of coherence and aesthetic style identifiable as specific to a select community of artists working in dialogue as contemporaries.

    In Chris Kraus' description of the figurative painter R.B. Kitaj, she seeks to plot out an alternative reality where his work is key to the arts discourse of the 20th century, rather than peripheral to its central, modernist narrative—an interesting idea occurs that seems both to negate the canon as well as attempt to lionise Kitaj's brilliance: 'Curatorial excitement mixed with apprehension: how to make this "difficult" work accessible? By introducing us to the artist as an admirable freak.' Segbedzi and co.'s works are so deliberately freakish in that they all require their own 'spray-painted' didactics—engineered as an exercise in art-jargon by the artist and written by students. Often entire canvasses of painted text are stapled to, or feature alongside, the variously painted works to further 'explain' them to a presumably perplexed public.

    Zac Segbedzi, A Lil Painting For Daddy, In Grampys Lil Gallery (Bastard Painting). Message to future black artists in Australia: Australian art is about violent erasure and obfuscation of colonial guilt...dont believe anyone who says they 'support black artists'. They wanna collect you like pokemon. THEY dont want you to be successful…. Its like 'lol, duh!?' but im still here in this fucking shithole getting yelled at and withheld from by these fucking people.^^ what Aurelia said…., digital print, airbrush, acrylic on cotton, 2016

    West Space director Patrice Sharkey has been bold in offering Segbedzi the show given the current climate of misogyny in Melbourne and the #MeToo moment more generally. Segbedzi's attempt to cut the success of artist Minna Gilligan down to size through the unauthorized exhibition of some of her student drawings, which he showed at White Cuberd, a portable gallery he ran through 2017, was mostly met with consternation. In all, the show seemed designed purely to injure the artist emotionally, but was masked as a critique of the commercial art world and in particular Gilligan's gallerist Daine Singer. At West Space the results of six years of post art-school work still teeters on appearing only as a massive "art-world" in-joke, albeit in miniature. A storm in a teacup. West Space's public galleries allow us to glimpse the private lives of a tiny scene of art-school graduates­­­, as competitive and brutish as they come. The work, therefore, falls by the wayside: this is about the lives of the artists.

    There is no doubt that there is something compelling about a painter whose work could convince Scarlett Johansson's boyfriend to fly in to Melbourne for an afternoon while hanging out on set in New Zealand, just to buy a Segbedzi painting spotted on Instagram to take back home to LA. Is it this fetishisation of the bad boy lifestyle's seemingly limitless resilience that makes Segbedzi an interesting artist, however? Or is it his personal demons, incessantly mined for public content, or is it simply his unmistakable skill as a painter and conceptualist? "Grandpa died in the Holocaust and Daddy abandoned me at birth" is one phrase in the text-heavy show, painted and just visible over a monotone representation of Adolf Hitler. It turns out his father is a billionaire property developer. In another painting his father's portrait appears menacingly, juxtaposed behind a melange of violent yet comical imagery.

    Early Career Group Show, installation view. Image courtesy the author.

    Segbedzi is leaving Australia to study in the US. Instead of seeking infamy, it appears he'd rather just be an artist. The artist as a troll (is Shrek the reference here?) is a position that Segbedzi occupies all too easily, but not without the difficulty of knowing that self-deprecation is ultimately limiting. Aim small, miss small. "The failure to prize the chance to spend time in a cosmopolitan city highly enough to refrain from giving it up in favour of an upstart one-horse town," wrote Robert Walser, before his face-down collapse in the snow, into obscurity, belies the fact that in the provinces the one-trick pony evolves over time, becoming something altogether different from what it once was in the big-smoke of history. The toy "donkey" (i.e., the Shetland pony) may be a freak of biological determinism, but it is a beautiful one.

    Giles is a writer and musician working at Monash University and the University of Melbourne. He is the Business Manager of the AAANZ.

    Title image: Meredith Turnbull, Closer 2018, installation view, Ian Potter Museum of Art, the University of Melbourne. Photographer: Christian Capurro.)

    2020 #27 Vincent Le Nicholas Mangan, Termite Economies: Neural Nodes and Root Causes Sutton Gallery
    2020 #26 Lévi McLean, Paris Lettau The Tennant Creek Brio NIRIN: 22nd Biennale of Sydney
    2020 #25 Giles Fielke Improvements and Reproductions West Space
    2020 #24 Victoria Perin Peter Tyndall bLogos/HA HA
    2020 #23 Helen Hughes Confined 11 The Torch
    2020 #22 Hester Lyon HTTP.PARADISE Incinerator Gallery
    2020 #21 Rex Butler Jane Sutherland, Obstruction, Box Hill, 1887 Art Gallery of Ballarat
    2020 #20 Amelia Winata John Nixon, Groups + Pairs 2016-2020 Anna Schwartz Gallery
    2020 #19 Chelsea Hopper Justine Varga, Tachisme Tolarno Galleries
    2020 #18 Anna Parlane Patrick Pound, The Museum of There, Not There STATION
    2020 #17 Kate Meakin “Apparel” Neon Parc Brunswick
    2020 #16 Robert Schubert Terre Thaemlitz, Love Bomb/Ai No Bakudan The SUBSTATION
    2020 #15 Philip Brophy Lewis Fidock and Joshua Petherick, Weevils in the Flour Gertrude Contemporary
    2020 #14 Jane Eckett Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982 Nicholas Thompson Gallery
    2020 #13 Rex Butler Callum Morton, Monument #32: Helter Shelter Alfred Deakin Place Ballarat
    2020 #12 Amelia Winata Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you. SEVENTH Gallery
    2020 #11 Giles Fielke Warwick Baker, Hi-Vis Dreams Centre for Contemporary Photography
    2020 #10 Amelia Wallin Agatha Gothe-Snape, The Outcome is Certain Monash University Museum of Art
    2020 #09 Audrey Schmidt Alethea Everard, Art show Meow2
    2020 #08 Chelsea Hopper Elizabeth Gower, LOCATIONS Sutton Gallery, Sutton Projects
    2020 #07 Paris Lettau KAWS: Companionship in the Age of Loneliness NGV International
    2020 #06 Victoria Perin Assembled: The Art of Robert Klippel Tarrawarra Museum of Art
    2019 #51 Luke Smythe Colin McCahon: Letters and Numbers National Gallery of Victoria
    2019 #50 David Wlazlo 110%: Wet Nurse c3 Contemporary Art Space
    2019 #49 Helen O'Toole Luke Sands Guzzler
    2019 #48 David Homewood Robert Hunter Ian Potter Centre: NGV Australia
    2019 #47 Giles Fielke Kate Wallace, Views to Remember / Travis McDonald, Clock Face C3 Contemporary Art Space
    2019 #46 Audrey Schmidt In Costume Mejia
    2019 #45 Marnie Edmiston Collection leads: John Scurry—small paintings Geelong Gallery
    2019 #44 Rex Butler Collecting Comme National Gallery of Victoria
    2019 #43 Francis Plagne Elizabeth Newman Neon Parc City
    2019 #42 Amelia Winata Preparation Haydens
    2019 #41 Victoria Perin Never the same river Anna Schwartz Gallery
    2019 #40 Philip Brophy Haroon Mirza: The Construction of an Act Australian Centre for Contemporary Art
    2019 #39 Matthew Linde Balenciaga: Shaping Fashion Bendigo Art Gallery
    2019 #38 Maddee Clark Fiona Foley: Who are these strangers and where are they going? Ballarat International Foto Biennale
    2019 #37 Giles Fielke Karrabing Film Collective: The Mermaids, or Aiden in Wonderland KINGS Artist Run
    2019 #36 Aneta Trajkoski SERIAL McClelland Sculpture Park+Gallery
    2019 #34 Philip Brophy ...(illegible)... MADA Gallery
    2019 #32 Ella Cattach On Vulnerability and Doubt Australian Centre for Contemporary Art
    2019 #31 Helen O'Toole George Egerton-Warburton, also known as , Heide Museum of Modern Art
    2019 #30 Victoria Perin, Brendan Casey I will never run out of lies nor love Bus Projects
    2019 #29 Anna Parlane FEM-aFFINITY Arts Project Australia
    2019 #28 Jane Eckett Josef Stanislaw Ostoja-Kotkowski: Solid Light McClelland Sculpture Park+Gallery
    2019 #27 Elyssia Bugg Prima Materia Bundoora Homestead
    2019 #26 Amelia Winata Angelica Mesiti: ASSEMBLY Venice Biennale
    2019 #25 Rex Butler Hans and Nora Heysen: Two Generations of Australian Art Ian Potter Centre: NGV Australia
    2019 #24 Francis Plagne Janet Burchill and Jennifer McCamley: Temptation to Co-exist Heide Museum of Modern Art
    2019 #23 Audrey Schmidt Octopus 19: Ventriloquy Gertrude Contemporary
    2019 #22 Anna Parlane Serene Velocity in Practice: MC510/CS183 Monash University Museum of Art
    2019 #21 Sophie Knezic Arlo Mountford: Deep Revolt Shepparton Art Museum
    2019 #21 Philip Brophy Christian Thompson: Baya Gardiya Australian Centre for the Moving Image
    2019 #20 Victoria Perin Isabel Davies: Recent Geometric Constructions Stephen McLaughlan Gallery
    2019 #19 Chelsea Hopper Taryn Simon: Contraband Anna Schwartz Gallery
    2019 #18 Rex Butler Tracey Moffatt: Body Remembers Tarrawarra Museum of Art
    2019 #17 Stephen Palmer Amalia Lindo: Computer Shoulders Centre for Contemporary Photography
    2019 #16 Giles Fielke Carve A Future, Devour Everything, Become Something Ian Potter Centre: NGV Australia
    2019 #15 David Wlazlo Compromise Warrnambool Art Gallery
    2019 #14 Ella Cattach Emma Phillips: Too Much to Dream Reading Room
    2019 #13 Paris Lettau The Museological Consciousness Lyon Housemuseum Galleries, Meow
    2019 #13 The Editors Memo Review 01. Perimeter Books, World Food Books, Monash University Museum of Art
    2019 #12 Giles Fielke Tudors to Windsors: British Royal Portraits Bendigo Art Gallery
    2019 #11 Sophie Knezic The Tennis Piece Gertrude Contemporary
    2019 #10 Victoria Perin Papermade / John Nixon: Screenprints, Woodblocks & Unique Relief Prints Negative Press, Australian Galleries
    2019 #09 Francis Plagne Visions of Paradise: Indian Court Paintings National Gallery of Victoria
    2019 #08 Amelia Winata Daniel von Sturmer Anna Schwartz Gallery
    2019 #07 Audrey Schmidt Carny Neon Parc
    2019 #06 Rex Butler Christian Marclay: The Clock Australian Centre for the Moving Image
    2019 #05 Anna Parlane Marlene Gilson Art Gallery of Ballarat
    2018 #52 Memo Review Thanks for reading in 2018
    2018 #51 Victoria Perin Sweeney Reed and Strines Gallery Heide Museum of Modern Art
    2018 #50 Paris Lettau Katie West: warna (ground) Caves
    2018 #49 Audrey Schmidt Aesthetics, Politics and Histories: The Social Context of Art AAANZ Conference 2018 - RMIT University
    2018 #49 The Editors Does the art exhibition have a future? AAANZ Conference 2018 - RMIT University
    2018 #48 Rex Butler Mira Gojak and Takehito Koganezawa: The Garden of Forking Paths Buxton Contemporary
    2018 #47 Jane Eckett Clement Meadmore: The art of mid-century design Ian Potter Museum of Art
    2018 #46 Francis Plagne Spencer Lai: A smile forms into a grimace / Matilda Davis: Too Many Dinner Parties Bus Projects
    2018 #45 Anna Parlane Lili Reynaud-Dewar, TEETH, GUMS, MACHINES, FUTURE, SOCIETY / Alicia Frankovich, Exoplanets Monash University Museum of Art
    2018 #44 Amelia Winata Hito Steyerl: Factory of the Sun National Gallery of Victoria
    2018 #43 David Wlazlo Biennale of Australian Art Art Gallery of Ballarat
    2018 #42 Giles Fielke Anne Ferran: White Against Red Sutton Gallery
    2018 #41 Sophie Knezic Eavesdropping Ian Potter Museum of Art
    2018 #41 Benison Kilby State of the Union Ian Potter Museum of Art
    2018 #40 Tim Alves John Stezaker: Lost World Centre for Contemporary Photography
    2018 #39 Paris Lettau Brook Andrew: The Language of Skulls Ten Cubed
    2018 #38 Jane Eckett Design for Life: Grant and Mary Featherston Heide Museum of Modern Art
    2018 #37 Rex Butler Tom Roberts: Shearing the Rams National Gallery of Victoria
    2018 #36 Victoria Perin Baldessin / Whiteley: Parallel Visions National Gallery of Victoria
    2018 #35 Hester Lyon Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth Centre for Contemporary Photography
    2018 #34 Francis Plagne Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #34 Philip Brophy Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #33 Amelia Winata Nicholas Mangan, Termite Economies Sutton Gallery
    2018 #32 Giles Fielke Philadelphia Wireman World Food Books
    2018 #31 Victoria Perin, David Wlazlo, Amelia Winata Melbourne Art Fair & Spring 1883 Australian Centre for Contemporary Art, Windsor Hotel
    2018 #30 Anna Parlane A Lightness of Spirit is the Measure of Happiness Australian Centre for Contemporary Art
    2018 #29 Giles Fielke, Amelia Winata, Tiarney Miekus Best and Overlooked of 2018 Recess, Ian Potter Museum of Art, Gertrude Contemporary
    2018 #28 Shelley McSpedden Auto Body Works Arts Project Australia
    2018 #27 Rex Butler Colony: Australia 1770–1861 / Frontier Wars National Gallery of Victoria
    2018 #26 Paris Lettau Andrew Browne: Spill Tolarno Galleries
    2018 #25 Jane Eckett The Sculpture Park Point Leo Estate
    2018 #24 Giles Fielke Lucina Lane and Nigel Lendon: Teach the Kids to Strike Neon Parc
    2018 #23 Tim Alves I hope you get this: Raquel Ormella Shepparton Art Museum
    2018 #22 Chelsea Hopper Diane Arbus: American Portraits Heide Museum of Modern Art
    2018 #21 Rex Butler The Field Revisited National Gallery of Victoria
    2018 #20 Anna Parlane Hard Feelings The Honeymoon Suite
    2018 #19 Francis Plagne Abstraction 17: A Field of Interest, c. 1968 Charles Nodrum Gallery
    2018 #18 Eva Birch Kieren Seymour: Blue Blindness Block Projects
    2018 #17 Amelia Winata Natalie Thomas and the Women's Art Register: Finding the Field True Estate Gallery
    2018 #16 David Wlazlo Troy Ramaekers: Double B-Sides Five Walls Projects
    2018 #15 Helen Hughes Vivienne Binns: It is what it is, what it is Sutton Gallery
    2018 #14 Kate Warren Soda_Jerk: TERROR NULLIUS Australian Centre for the Moving Image
    2018 #13 Paris Lettau The Shape of Things to Come Buxton Contemporary
    2018 #12 Victoria Perin Unfinished Business: Perspectives on Art and Feminism Australian Centre for Contemporary Art
    2018 #11 Giles Fielke Samraing Chea: Universal Drawings Reading Room
    2018 #10 Nicholas Tammens Mutlu Çerkez: 1988-2065 Monash University Museum of Art
    2018 #09 Tiarney Miekus Genesis Breyer P-Orridge: Loyalty Does Not End With Death The SUBSTATION
    2018 #08 Anna Parlane Kirsten Lyttle: Digital Mana Centre for Contemporary Photography
    2018 #07 Francis Plagne Tony Clark: Chinoiserie Landscape 1987 - 2017 Murray White Room
    2018 #06 Rex Butler Richard Bell: Dredging up the Past Gertrude Contemporary
    2018 #05 Amelia Winata Kieran Butler and collaborators: Rainbow Bois and Magical Gurls Blindside
    2017 #52 Giles Fielke Triennial National Gallery of Victoria
    2017 #51 Victoria Perin Del Kathryn Barton: The Highway is a Disco National Gallery of Victoria
    2017 #50 Julia Lomas Angela Brennan: Forms of Life Ian Potter Museum of Art
    2017 #49 Kate Warren Cover Versions: Mimicry and Resistance Shepparton Art Museum
    2017 #48 Paris Lettau Our Knowing and Not Knowing: Helen Maudsley Ian Potter Centre: NGV Australia
    2017 #47 Francis Plagne Douglas Lance Gibson: What Was Once Yesterday Today & Tomorrow Tolarno Galleries
    2017 #46 Chelsea Hopper Jenny Watson: The Fabric of Fantasy Heide Museum of Modern Art
    2017 #45 Ian McLean Wayne Eager New Paintings Eastgate Gallery
    2017 #44 Anna Parlane Jason Phu: My Parents Met at the Fish Market Westspace
    2017 #43 Rex Butler Gareth Sansom: Transformer The Ian Potter Centre | NGV Australia
    2017 #42 David Wlazlo Joseph Kosuth: A Short History of My Thought Anna Schwartz Gallery
    2017 #41 Amelia Winata Darren Sylvester: Céline Bus Projects
    2017 #40 Helen Hughes Brent Harris: the small sword Tolarno Galleries
    2017 #39 Kate Warren The Score Ian Potter Museum of Art
    2017 #38 Paris Lettau Isadora Vaughan: Recalcitrant Bodies The Honeymoon Suite
    2017 #37 Francis Plagne Smallness: Trevelyan Clay & Kate Smith Neon Parc, Sutton Gallery
    2017 #36 Audrey Schmidt People Soup Suicidal Oil Piglet
    2017 #35 Anna Parlane Forever Transformed Gertrude Contemporary
    2017 #34 Jane Eckett Sidney Nolan and Elwyn Lynn: A Joint Centenary Charles Nodrum Gallery
    2017 #33 David Wlazlo Future Eaters Monash University Museum of Art
    2017 #32 Beth Kearney Fictitious Realities Bayside Arts and Cultural Centre
    2017 #31 Rex Butler Brave New World: Australia 1930s / Call of the Avant-Garde: Constructivism and Australian Art Heide Museum of Modern Art, Ian Potter Centre: NGV Australia
    2017 #30 Victoria Perin Discovering Dobell / Dobell’s Circle Tarrawarra Museum of Art
    2017 #29 Amelia Winata Spencer Lai: Contaminant, Figures Fort Delta
    2017 #28 Helen Hughes Liam Osborne: Hot Copy Punk Café
    2017 #27 Kylie King Dale Frank Neon Parc
    2017 #26 Francis Plagne Every Brilliant Eye National Gallery of Victoria
    2017 #25 Rex Butler I can see Russia from here TCB art inc.
    2017 #24 Kate Warren Andrea Grützner: Tanztee and Erbgericht Centre for Contemporary Photography
    2017 #23 Giles Fielke On Campus Monash University
    2017 #22 David Wlazlo Restless Margaret Lawrence Gallery
    2017 #21 Anna Parlane Sky Country: Our Connection to the Cosmos Blak Dot Gallery
    2017 #20 Amelia Winata Unproductive Thinking Deakin University Art Gallery
    2017 #19 Anthony White Van Gogh and the Seasons National Gallery of Victoria
    2017 #18 Victoria Perin Harold Freedman: Artist for the People Art Gallery of Ballarat
    2017 #17 Paris Lettau Raafat Ishak & Damiano Bertoli: Hebdomeros Sutton Gallery
    2017 #16 Beth Kearney Bill Henson National Gallery of Victoria
    2017 #15 Helen Hughes James Tylor: un-resettling Vivien Anderson Gallery
    2017 #14 Rex Butler Louise Hearman Tarrawarra Museum of Art
    2017 #13 Julia Lomas Sally Smart: The Choreography of Cutting Sarah Scout Presents
    2017 #12 Giles Fielke Open Spatial Workshop: Converging in Time Monash University Museum of Art
    2017 #11 Kate Warren Daniel Crooks: Parabolic / Miyanaga Akira: REALTIME Anna Schwartz Gallery, National Gallery of Victoria
    2017 #10 Francis Plagne David Hockney: Current National Gallery of Victoria
    2017 #09 David Wlazlo Project 17: Radical Immanence Anna Pappas Gallery
    2017 #08 Anna Parlane Stuart Ringholt: Works on Paper Neon Parc
    2017 #07 Victoria Perin Don't be too Polite: Posters and Activism Ian Potter Museum of Art
    2017 #06 Amelia Winata O’Keeffe, Preston, Cossington-Smith: Making Modernism Heide Museum of Modern Art
    2017 #05 Paris Lettau Sovereignty Australian Centre for Contemporary Art
    2017 #04 Beth Kearney Ramesh Nithiyendran: In the beginning Ian Potter Museum of Art
    2017 #03 Giles Fielke Lucina Lane: Range White Cuberd
    2017 #02 Helen Hughes The Sculpture of Bronwyn Oliver Tarrawarra Museum of Art
    2017 #01 Rex Butler Suzanne Archer: Moving Forwards, Looking Back: A Survey 1969–2016 Nicholas Thompson Gallery
    Neon Parc Brunswick
    by Kate Meakin
    Terre Thaemlitz, Love Bomb/Ai No Bakudan
    by Robert Schubert
    Lewis Fidock and Joshua Petherick, Weevils in the Flour
    Gertrude Contemporary
    by Philip Brophy
    Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982
    Nicholas Thompson Gallery
    by Jane Eckett
    Callum Morton, Monument #32: Helter Shelter
    Alfred Deakin Place Ballarat
    by Rex Butler
    Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you.
    SEVENTH Gallery
    by Amelia Winata
    Warwick Baker, Hi-Vis Dreams
    Centre for Contemporary Photography
    by Giles Fielke
    Agatha Gothe-Snape, The Outcome is Certain
    Monash University Museum of Art
    by Amelia Wallin
    Alethea Everard, Art show
    by Audrey Schmidt
    Elizabeth Gower, LOCATIONS
    Sutton Gallery, Sutton Projects
    by Chelsea Hopper

    The End.