MASS MeMO | 2021

The “shock doctrine”, as Naomi Klein argues, is the exploitation of national crises by governments in order to pass questionable policies.” — Angelica Nervegna-Reed.

Installed in well-lit galleries, video works often fail to capture audience attentions.” — Giles Fielke.

Like most words, “home” connotes a multiplicity of meanings.” — Uswa Qureshi.

Underneath the stands of the MCG, a concrete carpark is transformed to an illuminated runway.” — Jennifer Hunt.

Was the past as wonderful as we remember? Or are our memories shaped by our relation to the present? Do we make yesterday seem brighter and today gloomier? At the VCA honours exhibition, where cool ambiguous sculptures confronted me at every turn, I found myself drawn to art alluding to a quieter, simpler time.” — Eliza Baker.

A map can be a key that opens up to the warmth of connection between friends, family and lovers.” — Beatrix Brenneman.

Parallel to pandemic life, white cube gallery spaces avoid tactile interactions.” — Sarah Ponsford.

The best art transforms and disrupts a gallery.” — Olivia Stephen.

“To become invisible, one has to become smaller or equal to one pixel”, Hito Steyerl cautions with a robotic didacticism.” — Sueann Chen, Rory Maley.

Is camp still a thing?.” — Julia Luby.

Mass MeMo crew all sit in a pub afterward and only I order a beer.” — Kevin Morgan Jones.

The RMIT campus is bustling with the sounds of construction.” — Georgia Elizabeth Milford.

There is an intruder in our midst.” — Camille Orel.

To grieve in the presence of others is an expression of love.” — Erin Hallyburton.

Twinks are having a bit of a moment lately.” — Ari Tampubolon.

Artists Freda Drakopoulos, Amina Briggs and Elsie Preston evoke the magic of domestic routines and mundane rituals in their ambitious contributions to the Victorian College of the Arts graduate exhibition.” — Emily Winslade.

Do the labyrinthine corridors of RMIT inspire a search for lost gods? Or perhaps it is our precarious times (once again) that are to blame for the crisis of devotion on show at the RMIT Honours graduate exhibition at the city campus in late November.” — Bianca Arthur-Hull.

When Max Ernst transferred the texture of a grimy floor onto a paper substrate by rubbing back and forth with pigment, he borrowed the term “frottage” to describe it.” — Ella Howells.

Identity is artifice.” — Karl Sagrabb.

An era of sensorial bombardment is upon us.” — Nic Trifiletti.

Bachelor of Art (Fine Art) (Honours), RMIT by Kevin Morgan Jones

Bachelor of Fine Art, RMIT by Georgia Elizabeth Milford

Performance, Victorian College of the Arts by Ari Tampubolon

Sculpture, Victorian College of the Arts by Camille Orel

Honours, Victorian College of the Arts by Sueann Chen, Rory Maley

Painting, Victorian College of the Arts by Ella Howells

Honours, Victorian College of the Arts by Eliza Baker

Photography, Painting, Honours, Victorian College of the Arts by Giles Fielke

Honours, Victorian College of the Arts by Emily Winslade

Bachelor of Art (Fine Art) (Honours), RMIT by Bianca Arthur-Hull

Bachelor of Art (Fine Art) (Honours), RMIT by Julia Luby

Bachelor of Art (Fine Art) (Honours), RMIT by Uswa Qureshi

Bachelor of Fine Art, Bachelor of Fine Art (Honours), MADA by Nic Trifiletti

Bachelor of Fine Art, MADA by Erin Hallyburton

Bachelor of Fine Art (Honours), MADA by Angelica Nervegna-Reed

Bachelor of Fine Art (Honours), MADA by Beatrix Brenneman

Bachelor of Fine Art (Honours), MADA by Karl Sagrabb

Bachelor of Fine Art, MADA by Olivia Stephen

Bachelor of Fine Art, MADA by Sarah Ponsford

Fashion, RMIT, Box Hill Institute, Holmesglen Institute, Kangan Institute, Whitehouse Institute of Design by Jennifer Hunt

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