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.

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