Audrey Schmidt
Octopus 19: Ventriloquy

Comedy and Chaos


Octopus 19: Ventriloquy

Gertrude Contemporary
31 May – 20 July 2019, curated by Joel Stern

By Audrey Schmidt

The 19th edition of Gertrude Contemporary's Octopus series, curated by Joel Stern, centres on the generative theme of ventriloquy. The comic, the sinister, the vaudevillian, the carnivalesque, the macabre, the puppet master, the pathological, the perverse all strike me as the most immediate connotations.

It is no surprise, however, that the curatorial focus i...

Anna Parlane
Michael Stevenson: <i>Serene Velocity in Practice: MC510/CS183</i>

Michael Stevenson, Serene Velocity in Practice: MC510/CS183

Monash University Museum of Art
22 May – 6 July 2019

By Anna Parlane

Serene Velocity in Practice: MC510/CS183, recently opened at the Monash University Museum of Art (MUMA), is the first major exhibition by the Berlin-based New Zealand artist Michael Stevenson to be held in Australia in some years. Since his survey show at Sydney's Museum of Contemporary Art in 2011, Stevenson has generated a new body of work that demands a shi...

Philip Brophy
Christian Thompson: Baya Gardiya

Double Issue

This week Memo Review publishes two separate reviews of shows in Melbourne and regional Victoria.

Sophie Knezic considers Arlo Mountford's current show, Deep Revolt, for its visions of death and museological disaster at the Shepparton Art Museum.

Below Philip Brophy considers the idea of our moving image subjectivity in his review of Christian Thompson's VR commission at the Australian Centre of the Moving Image, Melbourne's 'other' national art institution in the wake of t...

Sophie Knezic
Arlo Mountford: Deep Revolt

Double Issue

This week Memo Review publishes two separate reviews of shows in Melbourne and regional Victoria.

Philip Brophy considers the idea of an ACMI subjectivity in his review of Christian Thompson's VR commission at the Australian Centre of the Moving Image, Melbourne's 'other' national art institution in the wake of the federal election.

Below Sophie Knezic considers Arlo Mountford's current show, Deep Revolt, for its visions of death and museological disaster at the Shepparton A...

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...

Chelsea Hopper
Taryn Simon: Contraband

Taryn Simon: Contraband

Anna Schwartz Gallery
2 April – 1 June 2019

By Chelsea Hopper

In late November 2009, American artist Taryn Simon photographed objects detained or seized from airline passengers and express mail entering the U.S. from abroad. To do so, Simon spent five days, 24 hours per day at both the U.S. Customs and Border Protection Federal Inspection Site and the U.S. Postal Service International Mail Facility, both located at John F. Kennedy International Airport (JFK) in Ne...

Rex Butler
The Hand of Art

Tracey Moffatt: Body Remembers


Thought Patterns: Selected Works from the Collection

Curated by Anthony Fitzpatrick.
Tarrawarra Museum of Art
23 March – 19 May

By Rex Butler

The shadows are the first thing you notice. They're uncanny, haunting, impossible, technological.

Take Spirit House (2017), which has the one remaining wall of an abandoned limestone building—we are tempted to call it a mission church—casting its shadow under a cumulus-cloudy sky. It's an impossible shadow bec...

Stephen Palmer
Amalia Lindo: Computer Shoulders

Amalia Lindo: Computer Shoulders

Centre for Contemporary Photography 6 April — 2 June 2019

By Stephen Palmer

Amalia Lindo's exhibition Computer Shoulders consists of three identical flat television monitors held at various angles by long black poles protruding from the walls and ceiling, and a single framed photograph of roughly the same size, mounted on the wall. The monitors display three interrelated videos, consisting of visual material which for the most part has been gleaned from Y...