Critic Cap by Memo Review.
Back due to popular demand!
Critic Cap by Memo Review.
Back due to popular demand!
What is it like to make art the way the world is today? What is it to write about art? Every review you read in 2022 will attempt to answer these questions, whether it knows it or not. You can see it if you look hard enough. And in thinking about this we perhaps hold a candle to the darkness, or perhaps these questions are the light that allows us to see the darkness around us. Thank you for reading Memo lit by the world’s candlelight.
Featuring A. D. S. Donaldson, Adelle Mills, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Babs Rapeport, Cameron Hurst, Chelsea Hopper, David Wlazlo, Diego Ramírez, Francis Plagne, Giles Fielke, Hilary Thurlow, Jarrod Zlatic, Léuli Eshrāghi, Luke Smythe, Matt Marasco, Michelle Guo, Miriam La Rosa, Paris Lettau, Philip Brophy, Rex Butler
Sofia Skobeleva, Tara Heffernan, Tara Mcdowell, Timmah Ball, Ursula Cornelia De Leeuw, Victoria Perin, and Vincent Le.
There is no getting around it: 2020 was the year of COVID. It was something that all kinds of cultural activities tried to make sense of. We could quote, to show it has all apparently happened before, Daniel Defoe’s A Journal of the Plague Year at you. Or, like everybody else, you could read some prominent philosopher or cultural theorist try to make sense of it. Slavoj Žižek wrote no fewer than two books on the subject during the year, which made us realise that at least he was doing what he usually does during lockdown.
And we for our part at Memo Review also did what we usually do. Here are the forty-seven reviews we published during the year—a year when virtually every show we reviewed was only available online.
More than twenty years after Ernst Jünger’s death in 1998, the controversial German writer’s work continues to compel the attention of readers, critics, and scholars. In early 2019, Jünger’s diaries, the Strahlungen, written while he was an officer in occupied Paris during World War II, were published in English to wide acclaim.
These intimate accounts, of high literary and philosophical quality, reveal Jünger negotiating compliance with acts of subversion and resistance against the Nazi regime. His life is evidence that history can be both real and unrealistic at once, crystallising something essential about a twentieth century that witnessed the rise of total mobilisation, global war, and unprecedented technologies of mass extermination.
This volume presents four new essays by established and emerging scholars on Jünger’s work and legacy. Together, they provide biographical, philosophical, psychological, and aesthetic access-points to a major twentieth century German intellectual who, like few others, invites us to investigate the ambiguities, constraints, and imperatives of our own times.
Editors: Justin Clemens and Nicolas Hausdorf
Contributors: Justin Clemens, Nicolas Hausdorf, Birgit Lang, Marilyn Stendera, Giles Fielke
Elizabeth Newman is best known as a visual artist whose practice encompasses a variety of media including painting, drawing, sculpture, and installation. Writing, too, is central to her art.
Published by Discipline in collaboration with Third Text Publications, an affiliate of Third Text journal. Edited by Khadija von Zinnenburg Carroll; with essays by Khadija von Zinnenburg Carroll, Julie Gough, Dacia Viejo-Rose, Ellen Smith, and Christoph Salzar; photographs by Mark Adams; a foreword by Nicholas Thomas; copyediting by Paris Lettau and Ella Cattach; project management by Ella Cattach; and proofreading by Kate Lindesay. Designed by Robert Milne and set in Victor designed with Fabian Harb; cover photograph by Christoph Balzar.
The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations focuses on the role of time in contemporary art and introduces anachrony as a method for subverting the colonial archive
These are the reviews from 2018, the second year of Memo Review. As readers engage with this second year of reviews, they might see a group of art writers coming to grips with the particular limitations and opportunities of the weekly review format and even the particularities of its online delivery. Some will track the successive mentions of the same artist or gallery space, seeing what different writers make of them. Others will follow the progress of individual writers, finding and developing their own style and argument.
After three years of writing weekly reviews of the art made in and around Melbourne, it is possible that Memo Review has found its voice. Or voices. Regular readers might have started following the writers who speak most to them. There have been repeated mentions of the artists who speak most to our reviewers. Altogether we hope we have created something of a “scene”—a sensibility shared by certain writers and artists that might point to something more general about the particular time and place in which both are working.
The first hardcopy Memo publication, collecting the 52 reviews from 2017 published by Melbourne’s Memo Review. Memo Review is Melbourne’s only weekly art criticism, publishing reviews of “a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists.”
Memo Review “idea” cap by Giles Fielke.