None of Us Are Free / When One of Us Is Chained
In a recent media release from the office of the Minister for the Arts, Tony Burke (2024) referred to a government arts initiative as an “opportunity to highlight exceptional but lesser-known works within the National Collection and share them with communities for whom they hold special significance.” Imagine: $11.8 million over four years spent on transferring and safeguarding old paintings like The Countrywoman (1946) by Russell Drysdale and The Anteroom (1963) by Charles Blackman. The two old ghosts from the graveyard return to the gentlemen’s estate at Retford Park for the bourgeoisie of Bowral. Are you bored yet? You bloody well should be.
Exclusive to the Magazine
None of Us Are Free / When One of Us Is Chained by Daisy is featured in full in Issue 3 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related
Derek Jarman’s Blue (1993) is a film without images—just a luminous ultramarine field and an evocative soundtrack. Made as he was dying of AIDS-related illness, Blue resists spectacle, embracing abstraction, memory, and loss. Thirty years on, it continues to evolve, expanding across artists, mediums, and generations.
Archie Moore’s minimalism plays a formalist trick on a settler audience that sees only an Aboriginal flag, never the painting itself.
Bridging memory work and the uncanny, Tieu’s exhibition confronts Germany’s buried xenophobia through slippery visual and sonic signifiers that elude any stable index.