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...
Thank you for your support in 2017. We're taking a short break over January and will return in February for another year of weekly reviews.
The Memo Review team.
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...
Del Kathryn Barton, inside another land, 2017, synthetic polymer paint on inkjet print (1 of 75 parts), edition: 2/2, 83.0 x 69.0 x (sheet, each). Collection of the artist, © Del Kathryn Barton.
Del Kathryn Barton, The Highway is a Disco, Ian Potter Centre: National Gallery of Victoria Australia, Federation Square, Level 3, 17 November 2017 – 12 March 2018
Although Memo Review has already examined an exhibition from the National Gallery of Victoria's quadruple billing of female Austral...
Angela Brennan, Forms of Life, installation view, Ian Potter Museum of Art. Courtesy Niagara Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney. Photo: Christo Crocker.
Angela Brennan, Forms of Life, Ian Potter Museum of Art, 5 September 2017 – 25 February 2018.
In Angela Brennan’s exhibition at the Potter, a wall painting of textual fragments poses the question: “What do you want a poet for? To save the city of course!” Brennan’s engagement with the artefacts of early Greek and Cypr...
Frédéric Nauczyciel, A Baroque Ball (Shade) [Paris Ballroom Scene & Dale Blackheart (Baltimore)], 2014, digital video, 5:13 minutes. Courtesy and © Frédéric Nauczyciel.
Cover Versions: Mimicry and Resistance, Shepparton Art Museum, 11 November 2017 – 14 January 2018 Curated by Anna Briers.
There is nothing I enjoy more than a good impersonation. I recently came across a video of a young Martin Short appearing on The Tonight Show with Johnny Carson. The conversation had turned to the var...
Helen Maudsley, The Self: Part of it But Not Merging, 2017, oil on canvas, 52.5 x 40.0 cm © Helen Maudsley
Our Knowing and Not Knowing: Helen Maudsley at the Ian Potter Centre: National Gallery of Victoria Australia, 17 November 2017 – 12 March 2018
Curated by National Gallery of Victoria contemporary art curator Pip Wallis, Our Knowing and Not Knowing: Helen Maudsley is one of four summer solo shows on the third floor of the NGV Australia, including Louise Paramour, Mel O'Callaghan and...
Douglas Lance Gibson, Sila Sila ( Barracuda ), 2014
Archival pigment print, coconut timber frame, 40 x 50 cm.
Douglas Lance Gibson, What Was Once Yesterday Today & Tomorrow, Tolarno Galleries, Level 4/104 Exhibition St, Melbourne, 16 November 2017 - 16 December 2017.
As I was about to leave Tolarno Galleries after spending some time with Douglas Lance Gibson’s What Was Once Yesterday, Today & Tomorrow, his first show with the gallery, I was stopped by two men. One, who I assume was som...