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EMBASSIES OF THOUGHT: PART 1

Korakrit Arunanondchai, 'Painting with history in a room filled with people with funny names 3', 2015 (video still), HD video, 25 mins. Courtesy the artist and C L E A R I N G New York/Brussels and Carlos/Ishikawa London.

In less than four months the 20th Biennale of Sydney will unfold across seven venues conceived as ‘embassies’ and various in-between spaces around the city.

Presented under the title ‘The future is already here – it’s just not evenly distributed’ the exhibition is structured around thematic clusters, with each embassy acting as a transient home for constellations of thought. Providing safe spaces for thinking, each space brings together a myriad web of concerns, ideas and concepts.

In the coming editions of our eNews, the ideas informing each embassy will be explored.

 

COCKATOO ISLAND, EMBASSY OF THE REAL

Nilbar Güreş, 'Open Phone Booth', 2011 (video still), three-channel HD video, 33:46 mins. Courtesy the artist; Rampa, Istanbul; and Galerie Martin Janda, Vienna.

Virtual Reality / Body / Physical Space / Choreography / Fictional Reality / Sci-Fi / Folded Space / Communication / Language / World Wide Web / Capitalism

Located on Cockatoo Island, the Embassy of the Real poses a question to which this Biennale repeatedly returns: if each era has a different view of reality, then what is ours? Using a variety of means, artists included at this venue explore a range of ideas, from how these increasingly digitised times have shaped and altered our sense of perception, to the blurring of virtual and physical space. Alongside those who address the digital realm, whether explicitly or not, a number of artists also return to the physicality of the human body, and to the weightedness that comes with being and moving in the world. 

Nilbar Güres' Open Phone Booth, 2011 (pictured above) examines the politics of uneven distribution of technology and infrastructure in a globally connected world. The locus of the work is a small village in the Eastern Anatolian region of Bingöl, Turkey; birthplace of the artist’s father. An area between Kurdistan and the Republic of Turkey that has been continually plagued by conflict, the residents of this remote mountain village belong to an ethnic religious minority who suffer systematic discrimination by the state.

The antiquated switchboard that once connected the village land lines to the outside world was disabled in the 1980s due to clashes between the Turkish military and Kurdish rebels. To this day the connection has never been reestablished. This lack of a means to communicate with the outside world forms the basis for Güres’ investigation. Many of the residents have mobile phones, but as their homes do not fall within a reception area they are unable to use them unless they trek out of the valley to a high point in the surrounding mountains.

In Open Phone Booth, Güres provides the viewer with a series of vignettes through which they are able to experience an alternate reality, sharing in the journey of the villagers as they wander the rugged mountain paths throughout the seasons, searching for a way to connect with the outside world. We are privy to moments of happiness, frustration, sadness and yearning as they speak to friends, relatives and loved ones who have moved far away. 

Other artists featured at Cockatoo Island include: Korakrit Arunanondchai, Lee Bul, William Forsythe, Chiharu Shiota, and Justene Williams.

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CARRIAGEWORKS, EMBASSY OF DISAPPEARANCE

Lee Mingwei, 'Guernica in Sand', 2006/2015, mixed media interactive installation; sand, wooden island, lighting, 1300 x 643 cm. Courtesy of JUT Museum Pre-Opening Office, Taipei. Photograph: Taipei Fine Arts Museum.

Absence / Language / Landscapes / History / Memory / Currencies / Politics of Space / Archaeology / Natural Resources / Ruins / Remains

During the Biennale Carriageworks will be transformed into the Embassy of Disappearance, which brings together works by artists who approach themes of absence, memory, and the economic realities of a world marked by rapid change and neoliberalist agendas. While a number of works deal with issues of disappearance overtly – from lost languages, to fading histories, and vanishing landscapes – others seek to examine how this idea might also have a more positive and generative power.

Lee Mingwei will present an iteration of Guernica in Sand (pictured above). Last shown in 2015 at the Taipei Fine Arts Museum, the work takes Pablo Picasso’s Guernica, 1937 – a powerfully political painting created in response to the massacre of Basque civilians during the Spanish Civil War – as both a reference and a point of departure. The artist first recreates the precise lines of Picasso’s famous piece with sand and then alters it, by sweeping the sand with bamboo brooms. This simultaneous act of obliteration and recreation results in an altogether new work, where precise lines are reimagined as intuitive abstract and sweeping gestural forms. The performance, to take place on Saturday, 23 April 2016, is a reminder of the impermanence that was Lee’s inspiration for this monumental work – a characteristic of existence and an integral part of larger cycles of destruction and creation.

Other artists presenting work at this Embassy include: Lauren Brincat, Neha Choksi, Otobong Nkanga, Jamie North, Mike Parr, and Maria Isabel Rueda.

Find out more

 
 

BIENNALE ARCHIVE

 
 
The Hon. (Edward) Gough Whitlam PM and Franco Belgiorno-Nettis at the opening of the inaugural Biennale of Sydney (1973).

The Biennale of Sydney’s Archive has been gifted to the Art Gallery of New South Wales as part of the gallery’s new National Art Archive initiative.

The Biennale archive is rich in artists’ files, images, correspondence, media clippings and documentation, stretching back to the organisation’s inception in 1973. This collection of material provides insight into some key political, social and cultural moments, both in relation to the Biennale and to Australian history more broadly.

Read the full release

BE A FRIEND OF 20BOS

Arunanondchai Korakrit, 'Painting with history in a room filled with people with funny names 3', 2015 (video still), HD video, 25 mins. Courtesty of the artist, CLEARING New York/Brussels and Carlos/Ishikawa, London.

Get behind-the-scenes access to the 20th Biennale by joining our Friends Program

For $175 you can secure wonderful perks including: 

  • 1 x Complimentary Ticket to Opening Night on Cockatoo Island (Friday, 18 March 2016); 
  • 1 x Complimentary Limited Exhibition Catalogue, a Guidebook and a Souvenir Tote Bag;
  • Guided Curatorial Tours of Cockatoo Island with your fellow VIP Friends;
  • Exclusive access to VIP events as well as artist and curator-led talks;
  • Plus much more

Learn more about the Friends Package

REGISTER FOR VERNISSAGE 

Nina Beier, 'Plunge and Tilables', 2014, oversize martini glass, resin, dried fish, pills and ceramic tiles, dimensions variable. Courtesy of Croy Nielsen. Photograph: Dawn Blackman.

Network, meet artists, and see the Asia Pacific’s leading contemporary art event during the professional preview days.

20th Biennale of Sydney Vernissage: Tuesday, 15 March – Thursday, 17 March 2016

Register now

FEELING FOR YOU: PERFORMANCE LECTURE BY CÉCILE B. EVANS 

Cécile B. Evans, 'Hyperlinks or It Didn’t Happen', 2014 (video still), HD video. Courtesy the artist.

Artist Cécile B. Evans is visiting Sydney in preparation for the 20th Biennale of Sydney and will deliver a FREE performance lecture – Feeling For You at Artspace on Thursday, 3 December at 6 pm.

Learn more

GIVEAWAY: FBi SMACS

FBiTurns10. Photograph: Will Reichelt.

WIN a double pass to the FBi SMACs Festival. Just tell us which years the Biennale of Sydney won a SMAC award.

Email your answer, with your full name and address, by 5 pm on Friday, 27 November to: competitions@biennaleofsydney.com.au