Cover image of the review
NGV Triennial 2020 installation view of Refik Anadol (designer); Refik Anadol Studio, Los Angeles (design studio) *Quantum memories* 2020. Commissioned by the National Gallery of Victoria, Melbourne. Proposed acquisition with funds donated by Loti & Victor Smorgon Fund and Barry Janes and Paul Cross, 2020 © Refik Anadol. Photo: Tom Ross

Refik Anadol, Quantum Memories
  • Philip Brophy

31 Jul 2021

One of the worst things about the COVID-19 pandemic (apart from even typing those words) is the empowerment so many people felt in commenting on their baptismal dip into that great ontological swamp of representation: screen culture. Streamed gigs with visuals on par with watching a special indie section of Rage music videos in 1999. Opening paragraphs pithily pointing out the uncanny connectivity of a Zoom call—on par with your grandparents opening a YouTube link for the first time. And maybe the worst: galleries keeping the flame of art alive by porting their agitating discontents online—to be viewed by art-types who have Instagram accounts but couldn’t tell you the difference between CSS and HTML-5.

Sign in to read for free

Sign in for free to read the archive and get the latest review each Saturday morning. With our readers subscribing to our free weekly exhibition review, Memo Review can continue to publish quality, independent weekly art criticism.

Consider becoming a Patreon supporter or making a donation.