Celebrate the launch of the first glossy annual magazine from Memo Review, Naarm/Melbourne's only platform for weekly art criticism.

Memo No.1 features an extended artist focus on Archie Moore, Australia's representative at the 2024 Venice Biennale, with essays by Rex Butler, Tristen Harwood, Tara Heffernan, and Hilary Thurlow. It also features essays and reviews from art from around Australia and the world—Audrey Schmidt unveils a covetous history of tall-poppy takedowns in the Melbourne art world, Philip Brophy rips into Hollywood’s shallow art-world playbook, Cameron Hurst checks-in with the once-celebrated Spike Magazine cultural critic, Dean Kissick, and more.

Hear from contributing editor Paris Lettau and Queensland contributor Adam Ford, and take home a copy of the incisive new publication.

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Accessibility

We are committed to making the IMA accessible to people of all abilities, their families, and carers, as well as visitors of different ages and different backgrounds.

The gallery entrance is on the ground floor of the Judith Wright Arts Centre, on Berwick Street. There is wheelchair access and an accessible toilet with baby changing facilities also located on the ground floor, and we welcome guide and support dogs.

If you plan to attend this event and have specific support needs we can accommodate, please contact engagement@ima.org.au, call (07) 3252 5750, or ask our friendly staff on-site. Read our access information for visitors here.⁠ ⁠

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Guest Biographies

Paris Lettau is an independent arts writer and researcher, and a contributing editor of Memo Review. Graduating from the University of Melbourne and Monash University, his research focuses on conceptual and post-conceptual art, in particular the work of Australian conceptual artist Ian Burn.

Amelia Winata is a Naarm/Melbourne based writer and curator. She is a founding editor of Memo Review and an editor of Index, a peer-reviewed art history journal out of the University of Melbourne. In recent years, Amelia has been a contributor to The Saturday Paper, Artforum, and Art Monthly Australasia, and has written for leading institutions including the Australian Centre for Contemporary Art and the National Gallery of Victoria. She was previously recipient of the Next Wave x West Space curatorial co-commission and the Australia Council for the Arts Venice Biennale professional development program. Amelia is currently completing a PhD in Art History at the University of Melbourne, with her focus on the German artist Charlotte Posenenske (1930–1985).