18th biennale of sydney 27 June - 16 Sept 2012

Report 1 7 5 5 3 3 2 2 2 9 6 6 6 4 4 4 4 4 4 0 0 8 8 6 1 5 6 6 1 56 3 2 6 62 2 5 5 3 38 6 60 46 6 4 4 4 sale o ker g, H tton, a e u B E S vid ren; dowment a a rrier and n D L e ene E r F I sanne u an S e affare; Chartwell ’ D ckland; L rt, u ust; Kriselle ing; Jo a r A

T H w iends of the ylor, Mingyi Zhou, e E 0 r land land rrow; a D 5 s s F a T I I T sa Roberton; D i R nczyc and Mark- ison L l a A ojects A H owne; Caffe andon r r r

B P B vid and rte; Keitha and Connel Mc a well, Kristie ckland; a

D e u H S ssley A e Crockford Gallery, stralia o u ne B S u

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te A A e mstrong, Martin t Group;

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r A A rticipatory y y iversity of xton, S S A ry, Martin Correa, a e Crockford Gallery; Kate

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ts, r i i S r jou Collection; Jane and Mike dience Research ien; Random B B i P ennale of ennale of oject r A er 2/3 u rrell, B th th

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S S ena Moliotsias, s uglas; avey Gallery, Wellington

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e ng, P I i esley rah and Warren Couillault; am L l e a L orters and s Report S E ter Mc B ’ i e hlights O P ening Week erations B ents and ard and blications and Merchandise t Gallery of tist tists rtners ennale of tendance and ficial Guests er Robinson er ennale er 2/3 drea essages of is project was made possible with generous assistance from is project was made possible with assistance from the Canadian ilip ig tton Gallery; and Miriam van Wezel and ter Mc r r r th ust; ust; b oject team: Jonathan t p p stallation view of the 18 stallation view of the 18 f v o i hairman’s Message E u i a upp n h h r r r h e et u n n Resources B P Media and S H O E A Crew, Cultural T T Roger Wall; P Marketing Campaign Marketing Museum of Contemporary Cockatoo Carriageworks Revenue and A O B C C A P A P O and Richard Inside front cover P and T S Hylozoic Series: Sibyl I P Front cover P Gravitas Lite I Contents A out the M Courtesy the artist; Courtesy the artist A in collaboration with Rob Gorbet, Rachel T 18

BENEFACTORS 2

3 t r suppo of es g essa m Biennale curator th Biennale of Sydney not only work.

th that is progressive and tolerant.

demonstrates the city’s increasingly enthusiastic interest in contemporary public art but is also a strong endorsement of our support for Australia’s leading international visual arts festival. I congratulate the curators, artists, organisers, board, staff and volunteers for doubling visitor numbers over the past three biennales and achieving a 29 per cent increase since 2010. This success provides convincing evidence that Sydney residents and visitors want to view work that is not only imaginative and beautiful, but also challenging, provocative, confronting and inspiring. Presenting a successful Biennale contributes to Sydney’s reputation as a leading global city – one The City of Sydney looks forward to working with 19 Juliana Engberg not only to build on this success but to develop a permanent legacy Clover Moore Lord Mayor of Sydney The dramatic increase in visitors to the 18

Biennale of Sydney showcased anniversary in 2013, I am pleased th th The HonGeorge Souris MP Minister for Tourism, Major Events, Hospitality and Racing Minister for the Arts The Biennale of Sydney continues to deliver a large and exciting contemporary visual arts event, with a reputation for pioneering and innovative showcasing artworks. This year more than 665,000 people visited the exhibition during its three-month run across five Sydney venues – the biggest attendance in the event’s 39-year history. The 18 to see the Biennale of Sydney continue to present innovative exhibitions that engage the people of New South Wales, Australia and the world. works by more than 100 artists from around the world, of which almost half were created specifically for the exhibition. Venues included those of historical significance to Sydney: Cockatoo Island in Sydney Harbour a former convict prison and shipyard, only accessible by boat and Pier 2/3 at Walsh a disusedBay, historic wharf nestled under the Sydney Harbour Bridge. The quality of the artworks and the spread across five intriguing Sydney venues enabled visitors to discover why major events such as the Biennale contribute to Sydney’s mantle as the cultural capital of Australia. The Biennale’s enduring popularity with audiences is testimony to the New South Wales Government’s commitment to major events, which attract local, interstate and overseas visitors to the city and make an important contribution to the New South Wales economy. I congratulate the Biennale of Sydney on presenting an inspiring and vibrant event. As the organisation looks to celebrating its 40 Biennale of th Biennale of Sydney th such an artistic and critical Biennale, rivalling the exhibitions th abroad.

Biennale, Catherine de Zegher and Biennale of Sydney: all our th th Gerald McMaster,and to the many people behind the scenes, who made the 18 relations success. of São Paulo, Lyon, Istanbul and Shanghai. Attracting new audiences as well as loyal followers, the 18 Messages of Support of Messages Sydney (2012) team. A record 665,000 Australian and overseas visitors attended the 18 showcased 220 works by more than 100 artists from 44 countries. Sydney Harbour provided an enviable backdrop to showcase artworks by Australians and raise their profile both at home and I would especially like to thank the many artists who made themselves available to speak at some of the 130 free programs and events. hear To directly from artists about their ideas and inspiration adds a wonderful dimension to this much exhibition. anticipated The Australian Government is proud to support the Biennale of Sydney through its arts funding body, the Australia Council, as well as through its Visual Arts and Crafts Strategy, an initiative of the Australian, State and Territory Governments. thanksMy to the Artistic Directors of the 18 The HonSimon Crean MP Minister for Regional Australia, Regional Local and Government Development Minister for the Arts As part of the international calendar of great contemporary visual arts expos, the Biennale of Sydney brings artists and audiences together to experience some of the most compelling art in the world. Congratulations to the 18 The Biennale’s exhibitions, education and public programs, artists’ residencies and publications act as a cultural catalyst by encouraging innovation, experimentation and the communication of ideas. anniversary, anniversary, th Biennale of Sydney, which celebrated th the organisation’s 39 The inaugural Biennale of Sydney was staged in 1973 to provide an international showcase for contemporary art. Its aim was to develop and present a program that challenged traditional thinking and encouraged new levels of enthusiasm for innovative creative expression. The 18 attracted more than 665,000 visits. The Biennale of Sydney was the fourth recurring contemporary art exhibition to be established on the international calendar – after Venice(1895), São Paulo (1951) and documenta (1955) - and quickly achieved international recognition and critical acclaim. it ranks Today, as one of the world’s leadinginternational festivals of contemporary art and continues to be recognised for showcasing the freshest and most provocative art from Australia and around the world. Our charter is to provide fresh curatorial perspective and independent artistic vision, and to act as a counterbalance driven institutionally traditional to programs, exhibitions and publications. Since its inception, the Biennale of Sydney has showcased the work of nearly 1600 artists from over 100 countries. In Australia, it is the only free festival of any scale, offering free programs, free educational resources and, where possible, transport.free The Biennale is Sydney of a non-profit organisation that Australia’ʼs presents largest and exciting most contemporary visual arts everyevent. Held two years, the Biennale presents a three-month exhibition, with an accompanying program artist of talks, performances, forums, family events, guided tours and other special events, all FREE to the public. About the Biennale of Sydney

ABOUT THE BIENNALE OF SYDNEY 2 Chairman’s Message CEO’s Report c hai rm an’s The nature of contemporary art is as As with every Biennale, the exhibition’s As we look to celebrating the 40th in five beautiful venues. With more artists It is a pleasure to extend sincere m experiment: to explore that which is scale is a hallmark of the event, as are the anniversary of the Biennale of Sydney, working on site over longer periods of appreciation to the dedicated Board and essa contemporary. The Biennale of Sydney’s free access and resources, and a public I am proud to report that the 18th edition time to create their projects, the staff of the Biennale of Sydney, along th g challenge is to be true to that mission. program that helps open the exhibition has been the best attended exhibition 18 Biennale of Sydney continued with the installation crew and legion of e

up to all. to date. Visitation doubled over the past the trend of previous exhibitions by generous volunteers, without whom none 5 As one of the oldest biennales, we have

4 three editions, to more than 665,000. presenting a significant number of new of this would be possible.

long championed international cultural Realising such ambitions would be t

These swelling attendances bear witness artworks created especially for the r exchange through contemporary art from impossible if it were not for our staff, led We look forward to welcoming you to the to the ever-growing appeal of this Biennale, together with many works that th around the world. by our CEO Marah Braye, and the backing 19 Biennale of Sydney in 2014, curated epo internationally renowned festival on were seen for the first time in Australia. r provided by our generous partners – by Juliana Engberg; it promises to be all our relations stands as our first its home ground, and to an increasing

government (federal, state and city), Our exhibition and public programs are an absorbing, exciting and eo’s

Biennale to put global dialogue into its appetite for contemporary art around c international funding agencies, venue presented free, thanks to grants from inspiring adventure. premise. Of the many exchanges in the the globe. partners, private benefactors, sponsors three levels of the Australian government 18th Biennale, the most significant was Marah Braye and volunteers. In providing an overview of the exhibition (federal, state and city), as well as foreign undoubtedly the two-year partnership Chief Executive Officer and program, the highlights, facts and government partners and cultural between our Artistic Directors, Catherine On behalf of the Board of the Biennale figures presented in this report celebrate funding organisations. We thank the de Zegher and Gerald McMaster, whose of Sydney, thanks again to Catherine de the achievements of all involved – most New South Wales and Australian collaborative vision instilled the event Zegher and Gerald McMaster; to our staff, importantly the artists, who deserve governments, Arts NSW (a department of with a lyrical sensibility. volunteers and supporters for boundless thanks for their extraordinary Trade and Investment) and the Australia all our relations. The exhibition presented numerous generosity and creativity. Council for the Arts for their invaluable opportunities for audiences to interact Luca Belgiorno-Nettis support. We would also like to extend Alongside the Venice and São Paulo – not only with the works, but through Chairman thanks to our third major government biennales and Documenta, the Biennale many performance and participatory partner, the City of Sydney, for its of Sydney is one of the longest running projects: Sachiko Abe’s three-month generous support. and most respected biennale exhibitions performance installation Cut Papers #13, in the world. The inaugural edition in Significantly, the Biennale of Sydney Lyndal Jones’ Rehearsing Catastrophe: 1973 also heralded the new generation also benefits from the contributions The Ark in Sydney and Erin Manning’s of biennale exhibitions, whose primary and advocacy of an impressive league Stitching Time – A Collective Fashioning aim is to provide a platform for individual of visionary sponsors, benefactors and are but a few. artists, their creativity and ideas, rather supporters, who make all the difference Enhanced public visitation is often seen than representations of nationhood. This and whom we sincerely thank for their as a testimony to our success. We are very pivotal position has endowed the Biennale passion and commitment. pleased that the 18th Biennale achieved of Sydney with the confidence to explore We also wish to thank and acknowledge record-breaking attendance, with some varying terrains and break new ground the unswerving support of the directors 665,000 visits across its five metropolitan in each edition. and staff of our venue partners: venues. Moreover, in keeping with our Under the artistic direction of Catherine the Art Gallery of New South Wales, mission as innovators, 49 of the more than de Zegher and Gerald McMaster, the the Museum of Contemporary Art 100 artists created works specifically 18th Biennale of Sydney: all our relations Australia, the Sydney Harbour Federation for the exhibition, including many presented works by established and Trust and Carriageworks, as well as substantial collaborative installations. emerging artists from around the world Arts NSW for providing access to Pier 2/3.

7 hts g hli g hi er i land P rry s I e F mily ee mily r a nd mobile) a F F F line activity C a stralia n P u ennale. O i iversity of A land, thanks to a B t n s r ennale ennale I U i i A B B undation. land and Carriageworks. o s I eir efforts were integral F h T ts at the r uth Wales. A lnaves ennale at the Museum o a i attendance. S

xpanded education and public ngaging, inclusiveand ne B B i w e e ndays, outreach and residency ndays, which included fun artmaking me 67 per cent of visitors took F ore than 500 committed and ore than 220 free guided tours took ore than 16,000 visitors – an increase e o n e n e new mobile site for bos18.com, h h o u u advantage of the N accessible on multiple mobile platforms, enabled key exhibition information to be accessed in-venue. to the bos18.com sites ( M enthusiastic volunteers donated their time. to the success of the be popular, with over 273,000 visits to the exhibitions and events held at 2/3, Cockatoo S increased by over 75 per cent compared to 2010. place on Cockatoo unique partnership with the College of program included special publications, artist talks, guided tours, programs, transport subsidies and specially designed learning zones. of more than per 35 cent on the 2010 attendance – explored Cockatoo during the three S activities that engaged young minds with a range of artworks. M service, supported once again by T of Contemporary attracted more than 241,000 visits to its redeveloped building in Circular Quay – a 39 per cent increase on 2010 S M well-attended opening week program of 125 events featured venue openings, guided tours, a symposium, artist talks and formal receptions – catering to all audiences, from the general public to arts professionals from around the globe. a n t a a • • n-museum venues continued to • • • • • •

, O ok. o ne i en, S n rope, i B ennale u dney A P y, y, noré ∂’ th mpsey y r E o d e S D ennale of ung- E H D i ousands st. dney (2010). ’ o e series, gmentiforms, B a h y h Y u O er 2/3 proved S T E per T lthy Children, A i i u e rk ericas, P F S kaya, a h esley, land. w Zealand, m a e P T dney for the entire s e I A N B y gust. r @ ahi N S a u ts, s r B A A ilip era, Kellie jiko A ck, and i eersmaeker’s dance h i e in p u , two exciting performances rectors Catherine de Zegher B P ennale of b i adio. F D O th e K A D stralia, cific, the i R D u a ennale ne, i A P a dney, including many substantial B FB x Media L y stralian premieres Atendant of En titled ‘all our relations’, the arly half the artists created (49) e e exhibition drew record crowds, u tistic ia- dney to oversee the installation of dney’s 39-year history, the exhibition esookyung and rica and the Middle rformance installation Cut Papers #13 ter Robinson, Gao Rong, and chiko S venty-one (71) interstate and resa ajor new works were premiered by e r f s u n h h al e L e e a o e y y e Highlights S international artists travelled to S their work and to participate in the opening week program of artist talks and events. P exhibition, performing three times a day on Cockatoo exhibition showcased more than 220 works by 101 artists hailing from S was developed by a curatorial duo, A and Gerald McMaster. A A works specifically for the 18 a popular new after dark program, attended by over 4600 people across five nights in M P Y with more than 665,000 visits across all five venues – a 29 per cent increase on the 17 of collaborative installations. some of today’s most exciting artists, including C (2012) enthralled visitors, with artist presented by and Mick and programming by d featured performances by and Cesena by renowned choreographer Chamber and T ensemble Rosas, were presented in association with Carriageworks. s t f e n t

a • • • • r the first time in the • • • • • Biennale of Sydney (2012) at Cockatoo Island th , 2012 Courtesy the artist This project was made possible through the generous support ofThe Amanda artist Love wishes to acknowledge Gadigal elder AllenEora Madden elder Peter and McKenzie Jonathan Jones (barra)untitled Installation view of the 18

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10 hts g hli g hi Installation view of the 18 the of view Installation Ghost of City Nipan Oranniwesna top) 8from (page pages Previous Knights Lizanne and Julian and Foundation Family Cameron the Andrew from assistance generous with possible made was project This London Cube, White and artist the Courtesy Island Cockatoo at Installation view of the 18 the of view Installation Island –Cockatoo Chasm Living Nakaya Fujiko Above Courtesy the artist the Courtesy Wales South New of Gallery Art the at 18 the of view Installation Ghost of City Nipan Oranniwesna 9 Page SCANLAN&THEODORE from assistance generous with possible made was project This Roosegaarde Studio Courtesy Island Cockatoo at 18 the of view Installation X Dune Roosegaarde Daan artist the Courtesy Wales South New of Gallery Art the at 18 the in shown video from Still Chair Piano Rhode Robin Empathy Beyond to thanks Nangamai, with Boolarng with collaboration in artists the Courtesy Island Cockatoo at 18 the of view Installation River The Papermakers and Artists Euraba and Grzymala Monika Opposite from top Paris Polaris, Galerie and artist the Courtesy Wales South New of Gallery Art the at 18 the of view Installation Project Journey Mapping The Bouchra Khalili Left Inc. Industries, Mee by assisted was and AM Seidler Penelope of support generous the through possible made was project This Inc.) Industries, (Mee Sola Dave Longhurst, Hal Yamamoto, Shiro Shimada, Sayaka team: Project artist the Courtesy Island Cockatoo at , 2007–12 , 2007–12 , 2012 , 2011 , 2012 , 2012 (detail) , 2012

th th th th th th Biennale of Sydney (2012) (2012) Sydney of Biennale (2012) Sydney of Biennale (2012) Sydney of Biennale (2012) Sydney of Biennale (2012) Sydney of Biennale (2012) Sydney of Biennale , 2008–11 , , 2012 th Biennale of Sydney (2012) (2012) Sydney of Biennale

highlights 11

13 FUNDING CULTURAL izona r A stitution n I drew Cameron n t Museum; A r A ithsonian m S rtner in ts; Museum of Contemporary r iversity a A n

U dian, P

uth Wales uth Wales n I ate o t S S ALES OF erican

w sign and the m izona dney (2012) e r A e y D A Y S W N R stitute for i n B uth Wales I ennale of o th S , 2009–12 was assisted by

w e N rberger tional Museum of the A e a SOUTH H N

G r t Gallery supported this project through its artist-in-residence program r undation and ts; and W A o T A t Gallery of r iversity r F n A A U e exhibition, Finite subtitled Blue In E R h h is project was made possible through the generous support of the tive mily stallation view of the 18 ate a h a o t n Courtesythe artists T at the F N P Remember When? You Do stcommodity I A N Finite BlueIn Planet lle T e returned Venue as a Major t Gallery of T Planet, an focused on understanding of the finite natureourof environment, the and resources,limitations its our world of war of the consequences of and some and displacement. 2012 artists 28 and presented and 91 artworks across twoof gallery. floors the S Mosman

BENEFACTORS 12

15 ales w south w ne f o y r alle g t r a Biennale of Sydney (2012) th Biennale of Sydney (2012) th Biennale of Sydney (2012) Biennale of Sydney (2012) th th , 2006–11 , 2009 , 2009

at the Art Gallery of New South Wales Courtesy the artist Project team: Claire Weisz and WXY Studio; and Emily A. Martinez Above left to right Phil Hastings Steadfast Still from video shown in the 18 at the Art Gallery of New South Wales Courtesy the artist and Josée Bienvenu Gallery, New York Top Alan Michelson Prophetstown Installation view of the 18 at the Art Gallery of New South Wales Courtesy the artist and Lisa Sette Gallery, Scottsdale Right Echavarría Manuel Juan Requiem NN Installation view of the 18 at the Art Gallery of New South Wales Courtesy the artist Danh Binh Helicopter Artwork exhibited in the 18 , 2007 Biennale of Sydney (2012) th (2009–12) consisted (2005), representations works in the Yiribana Gallery. Small Business Karaoke (2009)

Italy (2007), installations exploring the materiality of daily life. Gao Rong created a new work entitled The Static Eternity (2012), a life-size embroidered sculptural replica of her grandparents’ living room; while Jin Shi presented and Mini Home of everyday objects scaled down to two-thirds of their original size. theFor first time, the Biennale presented John Wolseley’s Ventifacts from Mallee Scrub after Fire (2007–12) and Murray Sunset Refugia with Ventifacts (2008–09) offered an alternative to the landscape painting tradition. Phoenix-based Do You Postcommodity’s collective Remember When? of a hole cut into the floor of the gallery exposing the earth below, which created a dialogue on sustainability and incorporated an Indigenous world-view. Still from video shown in the 18 Above Guido van der Werve Nummer Acht, everything is going to be alright at the Art Gallery of New South Wales Courtesy the artist and Luhring Augustine, New York

n 2003). , which feature (2011) and Made in (2012). (2007), Missing Points (2008) from the series (2009), and two new watercolour (2010) and Untitled (Attempt to American War (2012), a new series of works created from discarded shopping bags and shoeboxes, alongside works from his Notice-Forest (2005–06) series, where the artist constructed delicate trees from paper shopping bags. Hassan Sharif presented several works, including Slippers and Wire (2009), Suspended Objects (2008), Lilliput (2007) and Blue Planet ( As the audience moved through the gallery the works gradually zoomed in, encouraging a more detailed and close-up view of everyday existence. Yuken Teruya exhibited Constellatio (Snow) note the limit of the sea) (2009) – were also exhibited, along with several works on paper by Jorge Macchi, including Globe archival images of the conflict in Vietnam printed on the leaves of tropical plants. Photographic works by Maria Laet – Untitled (Line andSnow) (2010),Untitled hand-printed watercolour woodblock scroll entitled The Three Gorge Dam Migration works, The Move of the Village (2012) Wen and Market Ghost Vietnamese-born artist Binh Danh exhibited chlorophyll prints, including Helicopter Immortality: The Remnants of the Vietnam and

(2012) (2012) (2009), a series of (2004), depicting her . The aerial perspective of (2002) from the series Oil and The initial artworks in the gallery encouraged an understanding of the world from an observational perspective, an overall view from afar. Australian artist Judy Watson exhibited two works, the sculptural Freshwater Lens (2009) and burnt vessels found objects collected from a research facility destroyed by fire on Heron a presented Banerjee Subhankar Island. series of photographs, including Caribou Migration I the Caribou the coastal plain of the Arctic National Wildlife Refuge tells a story about the land and its cultural and ecological significance. Alan Michelson exhibited works from his Prophetstown series, miniature buildings constructed from handmade paper that referenced relationships between past and present in North America. paintings Two by Dorothy Napangardi were featured, Sandhills (2006) and Untitled relationship with family and Country, and stories of remembered journeys through the landscape. Thai artist Nipan Oranniwesna created a new installation of City of Ghost (2007– 12), an ongoing work thatconsists of a large-scale map constructed from talcum powder, imagining life in a constantly expanding and increasingly globalised metropolis. Chinese artist Ji Yun-Fei exhibited three works, the existing

art gallery of new south wales 14

17 ales w south w ne f o y r alle g t r a , 2007–12 , 2005 Biennale of Sydney (2012) th Biennale of Sydney (2012) Biennale of Sydney (2012) th th

, 2003 at the Art Gallery of New South Wales Courtesy Josée Bienvenu Gallery, New York John Wolseley Ventifacts from Mallee Scrub after Fire Installation view of the 18 at the Art Gallery of New South Wales Courtesy the artist and Roslyn Oxley9 Gallery, Sydney Jorge Macchi Blue Planet Artwork exhibited in the 18 Clockwise from top left Teruya Yuken McDonald’s Japanese Notice-Forest: Installation view of the 18 at the Art Gallery of New South Wales Biennale of Sydney (2012) th Biennale of Sydney (2012) Biennale of Sydney (2012) th th , 2012 , 2009 support of the Neilson Foundation

its artist-in-residence program

, 2004 (detail) Rabbit Gallery has supported this project

at the Art Gallery of New South Wales Courtesy the artist This project was made possible through the generous White through at the Art Gallery of New South Wales Courtesy the artist and Milani Gallery, Brisbane Rong Gao The static eternity Installation view of the 18 Artwork exhibited in the 18 Clockwise from top left NapangardiDorothy Untitled at the Art Gallery of New South Wales Moree Plains Gallery collection; gift of Dr Ann Lewis AO Judy Watson freshwater lens Installation view of the 18

art gallery of new south wales 16

19 FUNDING CULTURAL rat f E mily ir a m F A nsen a H lls and i

e S h i T v t A , the r a y r weera, and be>our>friend (sound system), u dney (2012) L y

a S stralia u A inunt t r f f p r A A wat Manatpiyalert and Jaitip Jaidee (assistants), i o N i o dney (engineering consultants) B ennale of y p th lia rawit Klaimark and all(zone) (exhibition display), Kris S o S m nkamdej (glass works), Jeffrey Calman, a m a enthaisong, P , 2011 u L

sit r u D te pitak ttavut rtridge Group, a a an st P N S Biennale was Sydney of presented e useu h th T on is project was made possible through the generous support of oject team: stallation view of the 18 h i r n across two floors of the redeveloped acrossof tworedeveloped floors the gallery spaces, with artworks 50 by Australian26 and international artists. The videos, sculptures, installations, andphotographs paintings, both existing and especially created the Biennale, for attracted than more visits, 241,000 an the increase 2010 on per cent 39 of exhibition. SubtitledPossible Composition exhibition many saw the of artists create bringingby works disparate together elements, reassembling or disjointed parts that forms from create new to which was and scattered. broken once Located at Sydney’s iconic CircularLocated Sydney’s iconic at Contemporary the of Museum Quay, Art Australia (MCA) role its continued Partner inas Venue 2012. a Major The 18 au Courtesythe artist T at the Museum of Contemporary Rachaporn Choochuey, Manopimok (lighting design), P and P naree Anything Can Break I m c Composition Possible (music),

BENEFACTORS 18

21 alia r ust a t r a y r a r po m onte c of m useu m , 2012 Biennale of Sydney (2012) , 2012 th Biennale of Sydney (2012) Biennale of Sydney (2012) th th , 2010 , 2011 (detail) at the Museum of Contemporary Art Australia with Yeesookyung’s Translated Vase–the moon Courtesy the artist and GALLERY HYUNDAI,Park Seoul; Young-Sook’s and Moon Jar Courtesy the artist and GALLERY HYUNDAI,This Seoul project was made possible through the generous support ofAndrew the Cameron Family Foundation Tim Johnson with Nava Chapman, Yiwon Park and Karma PhuntsokThe way things are Installation view of the 18 at the Museum of Contemporary Art Australia Purchased 2011. Collection of The University of Queensland Lee Mingwei, artist talk at Museum of Contemporary Art Australia Opposite Nyapanyapa Yunupingu Light Painting Artwork exhibited in the 18 Clockwise from top Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist; Buku-Larrnggay Mulka Centre,and Roslyn Yirrkala; Oxley9 Gallery, Sydney (2007) (2011), illustrating (1986), which were created Not for Sure (2012), a new work made from paper, ink, bitumen, gold leaf, dye and pigment. Australian artist Tim Johnson exhibited The way things are (2010) and Rainbow Serpent, Water and Possum Dreaming in collaboration with Nava Chapman, Yiwon Park and Karma Phunsok; and Astrid Mednis and Michael Nelson Jagamarra, respectively. Tibetan artist Gade exhibited two works, a painting entitled Precious Objects and Ice Buddha No. 1 (2006), one of a series of digital photographs depicting the melting of a floating Buddha made of ice. Chinese artist Liu Zhuoquan created Where are you? (2012), a series ofglass bottles painted from the inside, depicting the body of an enormous black snake. Alick Tipoti presented a large-scale linocut entitled Girelal the cultural connection between the physical and spiritual worlds. Thirteen intricate paper moth sculptures by Zoe Keramea could also be found dotted throughout the exhibition space.

(2011) and Amaqabaza (2011) presented a (2010) and Anonymous Translated Vase–the moon (2012). Tyaphaka (2009); twolarge-scale sculptural (Dialogue Series. Balloon and (2004–06), a work consisting (2007), depicted the unpredictability (2010), were situated near (2012), referencing South African Xhosa culture. A highlight of the exhibition was Light Painting Yunupingu’s Nyapanyapa (2011), a digital projection on perspex composed from 110 drawings on acetate. Kamin Lertchaiprasert displayed Sitting of 365 small sculptures made from papier-mâchéd Thai bank notes. Judith Wright’s A Journey strikingly atmospheric tableau of figures and found objects. An accompanying video series by Judith Wright was also presented on Cockatoo Island. A photographic work by Maria Laet, Untitled Body) of an encounter between objects. Korean artists Park Young-Sook and Yeesookyung worked in collaboration, with Park Young-Sook showing 12 moon jars, symbolising the 12 months of the year, and Yeesookyung taking the ceramic remnants of Park Young-Sook’s previously destroyed vases to create a large, spherical sculpture, Liang Quan’s subtle works on paper, My Diary (2011) of Tea and Ancestor’s Sea Phaptawan Suwannakudt’s installation tapestry works constructed from recycled materials, exploring ideas of colonisation, consumption and globalisation. Nicholas Hlobo presented two watercolour drawings, Creature The level three gallery featured El Anatsui’s Afor

(2011), (2002–12). (2002–12). 2 11 (2012) and Moon (2011) by Khaled Sabsabi (1972) and Golden Glow (2012) by Gabriella Mangano Anything Can Break Can Anything (2012). (2011–12), a series of fibreglass The newly renovated foyer of the MCA featured two delicate sculptural works made from hand-carved magnolia wood by Yoshihiro Suda: Rose Flower a striking installation by Thai artist Pinaree Sanpitak, dominated the new double-height space. A large aluminium frame was suspended from the ceiling, from which origami cubes and breast-shaped glass objects were hung. The installation incorporated interactive sensors, amplifiers and fibre-optic lights that responded to the movement of the audience. Alwar Nothing From My Balasubramaniam’s Hands forms representing the negative space created when hands are clasped together, blended seamlessly into the gallery walls. The level one gallery presented the audience with three eye-catching abstract paintings by the late David Aspden; Zahir (1971), Nebula(1971), (1973) explored the complex relationships between colours and shapes. Video works Airland and Neon and Silvana Mangano provided a contrast to Aspden’s more traditional medium, while Mit Jai Inn presented multilayered, multi-form, multicoloured abstract paintings on canvas, NO Central to the space was Lee Mingwei’s The Mending Project (2009), a participatory installation in which members of the public were invited to bring along a garment for mending and to sit with the artist and recount an experience.

museum of contemporary art australia 20

23 alia r ust a t r a y r a r po m onte c of m useu m , 2012 , 2010 (foreground), Biennale of Sydney (2012) Biennale of Sydney (2012) Biennale of Sydney (2012) Biennale of Sydney (2012) Biennale of Sydney (2012) th th th th th

, 2009 and Afor , 2012 , 2012 , 2011 Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist Alick Tipoti Girelal Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist and The Australian Art Print Network, Cairns El Anatsui Creature Anonymous at the Museum of Contemporary Art Australia Courtesy the artist and Jack Shainman Gallery,This New York project was made possible through the generous support of Penelope Seidler AM RungjangArin The Living Are Few But The Dead Are Many Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist and Gallery, Ver Bangkok This project was made possible through the generous support ofMordant, Simon and Catriona and with assistance from Gene and Brian ShermanAIR Antwerpen and Sherman Contemporary Art Foundationproject have through supported their this artist-in-residence programs Liu Zhuoquan Where are you? Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist and China Art Projects, BeijingProject team: Xiao Song, Wang Lina, Reg Newitt, ZhangGonkar Dan, Gyatso and Amy Hitchcoff This project was made possible through the generous support ofMalcolm and Lucy Turnbull White Rabbit Gallery has supported this project through its artist-in-residence program Clockwise from topleft Phaptawan Suwannakudt Not for Sure Installation view of the 18 Biennale of Sydney (2012) Biennale of Sydney (2012) Biennale of Sydney (2012) th th th , 2008–09 , , 2011 , 2011 From top Mangano Silvana and Mangano Gabriella Far and Near Between Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist Installation view of the 18 at the Museum of Contemporary Art Australia Museum of Contemporary Art Australia, donated by Andrew and Cathy Cameron, 2012 Judith Wright A Journey Installation view of the 18 at the Museum of Contemporary Art Australia Courtesy the artist; Sophie Gannon Gallery, Melbourne;JENSEN, Jan Manton Sydney; Art, and FOX/JENSEN, Brisbane; Auckland Right Keramea Zoe Geometrid Moth

museum of contemporary art australia 22

24 S R TO C A BENEF Belgiorno-Nettis Foundation. Belgiorno-Nettis Luca generousthe ofAnita support the possible made through was artworks these and presentationThe of 2/3 Pier John and Ashoona workcollaborative by Shuvinai a Honoréas and well as Singh ∂’O, below, as above as titled Walk, Art curated the in the 2010 attendance. 2010 the on 20,000, cent a28 per increase than to more venue Bay Walsh the increasing to visitation with 1986, in use inaugural its since for time seventh 2/3 the Pier remarkable the used Biennale the 2012, In /3 below as above as pie r 2 showcased projects by Tiffany projects showcased by Tiffany

Noestheden. 1 The third venue third The chime home to decorate, later returning later decorate, to home chime a take to invited were visitors onwards, 7August From exhibition. the of month first the for display on ribbons, coloured on chimes wind 1000 of installation afixed involved work the of component 2/3 Pier The locations. separate three across parts three of consisted that installation amajor (2011), Sound The To Listen Sky The On Knock work her of part presented Singh Tiffany 2/3, Pier of lower-level the of end southern the At I Sound To The Listen Sky The On Knock T Top of the the of T the of T I S Right its artist-in-residencethrough program the of T Courtesy the artist the Courtesy artists the of permission by Reproduced Klaus with association in Courtesy Sky and Earth artist the Courtesy I A H Opposite P n n n h r iffany h h h ir and Inner and ir on stallation view of the 18 the of view stallation stallation view of the 18 the of view stallation stallation view of the 18 the of view stallation esbyterian esbyterian uvinai uvinai is project was made possible through the generous support support generous the through possible made was project is support generous the through possible made was project is support generous the through possible made was project is oré ∂’ oré A A A n n n S ita ita ita ita in A I O l s lingworth Kerr Gallery, Calgary, Calgary, Gallery, Kerr lingworth gh hoona and John John and hoona L L L , 2012 , 2012 u u u L , 2008 ca ca ca ca a dies’ College, College, dies’ B B B e e e lgiorno- lgiorno- lgiorno- L th th th i ennale of of ennale of ennale of ennale ttmann, ttmann, B B B N N N N i i i S e e e o y ttis ttis ttis ttis estheden dney has supported this project project this supported has dney F F F o o o S undation undation undation t , 2011 adthimmel, adthimmel, S S S y y y dney (2012) at at (2012) dney at (2012) dney at (2012) dney B a sel sel P P P i i i er 2/3 2/3 er 2/3 er 2/3 er to 24 chairs scattered around the venue. the around scattered 24 chairs to anchored strips paper more and ceiling the from suspended strips paper white many of consisted (2012) Inner and Air Sloterdijk. Peter of philosophy the by inspired installation site-specific anew presented ∂’O Honoré 2/3, Pier of lower-level the of end northern the At Docks Precinct. the in Crane Bowing the from ribbons white on hung be to Island Cockatoo to it bodies and skies. celestial of mappings Noestheden’s and terrains Arctic of illustrations Ashoona’s featured and ceiling the from suspended was banner 35-metre The Noestheden. John and Ashoona Shuvinai artists by banner large-scale acollaborative (2008), Sky and Earth was 2/3 Pier in exhibited work third The 1 Visitation includes Biennale Bar @ Pier 2/3 2/3 @Pier Bar Biennale includes Visitation attendance of 4649. of attendance

pier 2/3 25

27 FUNDING CULTURAL houses.

ISLAND

Biennale Sydney of Biennale of Sydney (2012) at Cockatoo Island th th , 2012 A CK O Courtesy the artist Project team: Jonathan Tyrrell, Eric Bury, Martin Correa,Brandon DeHart, Susanne Eeg, Andrea Ling, Elena Moliotsias,Anne Paxton, Anne Sewell, Kristie Taylor, Mingyi Zhou,in collaboration with Rob Gorbet, Rachel Armstrong,Martin Hanczyc and Mark-David Hosale This project was made possible with assistance from the Canadian Friends of the 18 Philip Beesley Hylozoic Series: Sibyl Installation view of the 18 First used as a Biennale venue Sydney of in 2008, Cockatoo Island – a World Heritage-listed shipyard former and prison inlocated the middle Harbour Sydney of – returned as successful a hugely venue in 2012. Attracting than more 210,000 visits, Cockatoo Island surpassed 2010 its attendance 33 per by cent. Fifty-five (55) Biennale artists this over took urban park, with 75 artworks throughout presented the island’s remarkable buildings, industrial spaces and historic With the exhibition spanning the breadth the of island and presenting an astounding array artworks of – including large-scale sculptures and immersive installations, video work, photographs, sound pieces and manyCockatoo – site-specificworks againIsland once proved be to a highlight the of Biennale. The exhibition was also a defining in Biennale’smoment the of use the island, with greater numbers artists of periods time longer of over working on-site create theirto projects. Thirty-nine (39) artists with works created new this unique setting in mind. C Stories, Senses and Spheres too

BENEFACTORS 26

29 island atoo ck o c , 2012 (2012) consisted of a (2012)was also recycled,

Biennale of Sydney (2012) at Cockatoo Island th with foam-cut components returned to the original supplier. Ed Pien’s Source large-scale labyrinth of paper which visitors could enter and explore. Within this immersive environment, a unique play of material, colours, spaces, shadows and illusions was complemented by a sound piece by Inuit throat singer Tanya Tagaq. One ofthe ten collaborations between artists and collectives was The River (2012), which featured 10,000 bespoke papers made by Polish-born German artist Monika Grzymala and the Euraba Artists and Papermakers from north-west New South Wales. The paper will be returned to the collective of Goomeroi artists to create new works, recycling the remnants of the project. Peter Robinson’s expressive Gravitas Lite Biennale of Sydney (2012) at Cockatoo Island th

, 2006 Biennale Sydney of th Opposite from top from Opposite PylypchukJon spend the rest of your life mining this death and it will only bring you despair Installation view of the 18 Jess MacNeil The Shape of Between Still from video shown in the 18 Courtesy the artist and Friedrich Petzel Gallery,This New York project was made possible with assistance from the Canadianof the 18 Friends Courtesy the artist and Gallery Barry Keldoulis, Sydney (2012), an installation (2012) involved a shipping container that the artist welded into a patterned house on-site; and a lace-pattern landscape usingcreated sand. of water-fog. Operating for 15 minutes every hour, 1000 fog nozzles dispensed pure water-fog into the chasm between the cliff face of the Upper Island and the Turbine Hall. In a thick fog, people become disorientated and frustrated at their inability to see. In this Nakaya’s way, sculpturesactivate other senses, to compensate for this loss of sight. Several installations in the island’s Industrial Precinct encouraged audiences to immerse themselves within the artworks. Cal Lane’s Domesticated Turf audience members by using complex interactive microprocessortechnology. Daan Roosegaarde’s installation of Dune (2007–12) in the Dog-Leg tunnel similarly reacted to the sound and movement of visitors through the tunnel, creating an interactive landscape that illuminated the dark space.Fujiko Nakaya stimulated visitors’ senses with Living Chasm – Island Cockatoo . (2012). (2012). , 2011 Biennale of Sydney (2012) at Cockatoo Island th Biennale of Sydney, the and Tiffany Singh’s Knock th On The Sky Listen The To Sound Courtesy the artist This project was made possible through the generous support of the Anita Luca Belgiorno-Nettis Foundation Presbyterian Ladies’ College, Sydney has supportedthrough this project its artist-in-residence program Tiffany Singh Knock Installation view of the 18 For theFor 18 Working with the concept of hylozoism – the belief that all matter in the universe has a life of its own – Hylozoic Series: Sibyl responded to the movement of exhibition on Cockatoo Island was subtitled Stories, Senses and Spheres The artworks displayed on the island continued manyof the ideas explored in other Biennale venues by opening up the sensesto wind, water and earth, and their embedded meanings, in collaborative and interactive projects that had shared storytelling and caring at their core. Several artworks on the island encouraged active participation by and interaction from visitors, including Nadia Myre’s The Scar Project (2012), Erin StitchingManning’s Time – A Collective Fashioning On The Sky Listen The To Sound (2011). more informationFor participatory on projects, see pages 36–37. Otherworks required the presence of the visitor to be activated, including Philip Beesley’ʼs Hylozoic Series: Sibyl

cockatoo island 28

30 island atoo ck o c Installation view of the 18 the of view Installation II Sites Shadow Jananne Al-Ani left top from Clockwise Installation view of the 18 the of view Installation Courtesy the artist the Courtesy 18 the of view Installation Nonabel Khaled Sabsabi York New Art, Fine Juschka C. Priska and artists the Courtesy Caspian the Ride Menlibayeva Almagul and Behbahani Bahar artist the Courtesy 18 the of view Installation 1957) Samuel Beckett, partie”, de “Fin novel the from (excerpt pared? tu en ¿Y ves qué Ricardo Lanzarini Prize Art Capital Abraaj by Commissioned , 2011 , 2011 , 2011 , 2012 th th th th Biennale of Sydney (2012) at Cockatoo Island Island Cockatoo at (2012) Sydney of Biennale Island Cockatoo at (2012) Sydney of Biennale Island Cockatoo at (2012) Sydney of Biennale Island Cockatoo at (2012) Sydney of Biennale has supported the project through its artist-in-residence program program artist-in-residence its through Council, City project the supported Parramatta of has initiative an Studios, Artists Parramatta Installation view of the 18 the of view Installation Library Bee The Finlay Alec left top from Clockwise Canadian Friends of the 18 the of Friends Canadian the from assistance with possible made was project This artist the Courtesy 18 the of view Installation Domesticated Turf Lane Cal Durham Saadia and Paul from assistance generous with possible made was project This London Gallery, Corvi-Mora and artist the Courtesy 18 the of view Installation Still Shimmer They Qureshi Imran artist the Courtesy , 2012 , 2012 , 2012 th th th th Biennale of Sydney (2012) at Cockatoo Island Island Cockatoo at (2012) Sydney of Biennale Island Cockatoo at (2012) Sydney of Biennale Island Cockatoo at (2012) Sydney of Biennale Biennale of Sydney Biennale

cockatoo island 31

33 island atoo ck o c , 2005 , 2012 Biennale of Sydney (2012) at Cockatoo Island Biennale of Sydney (2012) at Cockatoo Island Biennale of Sydney (2012) at Cockatoo Island Biennale of Sydney (2012) at Cockatoo Island Biennale of Sydney (2012) at Cockatoo Island th th th th th

, 2012 Biennale of Sydney, Sydney College of the Arts , 2012 th , 2012 The University of Sydney has supported this project throughartist-in-residence its program Maria Fernanda Cardoso and Ross Rudesch Harley MUSEUM OF COPULATORY ORGANS (MoCo) Installation view of the 18 Courtesy the artist, Pierre-François Ouelletteand Art Birch Contemporain, Libralato, Montreal; Toronto Project team: Johannes Zits and Nicole Vogelzang, Jenny Pham,Tong Shen, Polina Corrie Teif, Jackson and Heidrun Gabel-Koepff, and Andrew RutherdaleSound: Tanya Tagaq and Jean Martin This project was made possible with assistance from the Canadianof the 18 Friends Courtesy the artists These artists were assisted by the NSW Government through Arts NSW Jin Nü Exuviate II: Where Have All the Children Gone? Installation view of the 18 Courtesy White Rabbit Collection, Sydney top from Opposite Vicuña Cecilia QUIPU AUSTRAL Installation view of the 18 Courtesy the artist Cvijanovic Adam The River Installation view of the 18 Courtesy the artist and Postmasters Gallery, New York From top Ed Pien with Tanya Tagaq Source Installation view of the 18

cockatoo island 32

35 s rk o w e g ia rr a c , creating a sculpture Biennale of Sydney was th Ann Veronica Janssens’ installation The third work presented at Carriageworks as part of the 18 by Belgian artist Ann Veronica Janssens, who created ‘propositions’ or ‘interventions’ in her installations based on the relation of time and space. Through the use of light, artificial fog, projections and sound, Janssens’ work touched on experiencing the ungraspable. Her immersive environments and urban interventions invited viewers to cross the threshold into a new sensory space. Ann Veronica Janssens also collaborated with the Rosas dance ensemble for the set design of Cesena of passingtime, reflecting the constant transformation of what is around us but only becomes visible in the course of time. . .

. takes a new step in the

heralds the start of a new day En AtendantEn AtendantEn exploration of combined music and dance, subtilior ars from inspiration drawing De Keersmaeker explores questions of our mortality and physicality that are now becoming ever more crucial, taking us to a place where twilight merges night. into imperceptibly almost Cesena Cesena and was choreographed by Anne Teresa De Keersmaeker in collaboration with musical director Björn Schmelzer and his ensemble graindelavoix. This new production might be called the counterpart to Rosas’s Atendant En Performers share the stage, exploring the limits of their ability – where dancers sing and singers dance in dialogue with the scores of the subtilior ars dney y S resa e T eleigh v ne ne E ennale, n i A S B ennale of i B , two performances RK O stralian premieres of W u dney for the firstdney for time in A E dney’ʼs historic Biennale of Sydney (2012) at Carriageworks y th y G and Cesena S S I rds, Carriageworks the joined a , 2010–12 lgian choreographer eersmaeker’s dance Rosas. ensemble Y e RR he closinghe the week of B

ennale of A e K i o n t B L at cated Rail I Carriageworks and the 2012 to present two2012 present to international dance performances art and a major installation. presented the presented D En Atendant by Courtesy the artist; 1301PE Gallery, Los Angeles;Alfonso Air de Paris, Artiaco, Paris; Naples; Galerie Micheline Szwajcer,E. Antwerp; Schipper, Berlin; and Toni Tapies, Barcelona Right Anne Teresa De Keersmaeker AtendantEn Opposite Ann Veronica Janssens Installation view of the 18 CA

BENEFACTORS 34

36 ts c e j o r p y r ipato c ti r pa and es c an rm fo r pe tist r a small space. Abe remained in Sydney Sydney in remained Abe space. small the in amplified scissors her of sound the her, with around amassed that strands fine into paper white cutting silence, in sat artist the exhibition, the Throughout space. performance the enter to them inviting artist, the with level intimate amore on connect to visitors encouraged Island Cockatoo on Precinct Industrial the in performances (2012) #13 Papers Cut Abe’s Sachiko disaster. for, escapes, or prepares one how examined that awork in ark the board to up lined and masks animal donned volunteers (2012), Sydney in Ark The Catastrophe: Rehearsing For Jones’ʼs memories. childhood their recounting Saturdays, on fortnightly volunteers, elderly by performances involved Island, Cockatoo on installed (2012), Ko Kot’ Eva by performances in actively participate to encouraged were Volunteers hair. artist’s the into braided speakers through stories to listening visitors saw (2009–12) Lie Canʼ’t Voice Little My Baker’s Khadija while commuters; the amidst groups in slept volunteers which for aperformance (2012), Boughs Neighbourʼ’s Their In Entangled So presented And Watkins Robin and Canell Nina Ferry: Free Biennale the on Island Cockatoo to travelling visitors for held were performances two week, opening During exhibition. the throughout place took artworks participatory and relations our all behind premise curatorial the with tune In Projects Participatory Performances and Artist ťt’ Theatre of Speaking Objects of Speaking Theatre ťátková’s átková and Lyndal Jones. Jones. Lyndal and ťátková , several performances performances , several chime from Pier 2/3. They were invited invited were They 2/3. Pier from chime awind collect to visitors encouraged (2011) Sound To The Listen Sky The On Knock Singhʼ’s Tiffany Island, Cockatoo and 2/3 Pier bridged that aproject In trained a or artist the by mending for clothing of articles bring to invited were visitors where Australia, Art Contemporary of Museum the at (2009), Project Mending The Mingwei’s Lee were participation encouraged that works Other community. local the with worked Myre where Centre, Arts Campbelltown at artist the by undertaken residency a by preceded was and week opening the throughout Island Cockatoo on ran Project Scar The participants. other with conversations through meaning and connections new form and artwork the to contribute could public the of members which in workshops involved both (2012) Fashioning A Collective – Time Stitching Manning’s Erin and (2005–12) Project Scar The Myreʼ’s Nadia Precinct. Convict the of courtyard the across alphabet the of letters paper white –distributing (2012) Proust Marcel to according perdu” temps du “A recherche la Metapoetry Installation of performances week opening her in participate to visitors invited Partum Ewa Island, Upper the On Island. Cockatoo on installed also were projects participatory Many Sunday. to Wednesday from daily times three performing Biennale, the of duration the for

volunteer. Rosas performances, see pages 34–35. pages see performances, Rosas the on information For more Rosas. ensemble dance her and Keersmaeker De Teresa Anne choreographer Belgian by performances two premieres of En of Atendant premieres Australian the presented Sydney of Biennale the and Carriageworks Biennale, the of week closing the In Precinct. Docks the in Crane Bowing the from installation apublic in hung were chimes wind decorated the where Island, Cockatoo to it return then and it, decorate or paint a pilgrimage, on chime wind the take to DETACHED, Hobart DETACHED, from assistance with possible made was project This Office Waugh and artist the Courtesy Island Cockatoo at 18 the of view Installation Objects ofTheatre Speaking Kot’átková Eva artist the Courtesy Island Cockatoo at Performance for the 18 the for Performance Proust to Marcel according perdu” temps du “A recherche la Metapoetry Installation Partum Ewa left from Above Performance for the 18 the for Performance #13 Papers Cut Abe Sachiko Opposite program artist-in-residence its through School Art National the by supported was project This artist the Courtesy Island Cockatoo at

, 2012 th th Biennale of Sydney (2012) (2012) Sydney of Biennale (2012) Sydney of Biennale , 2012 th , 2012 Biennale of Sydney (2012) (2012) Sydney of Biennale and Cesena and ,

CULTURAL FUNDING 37 artworks and the exhibition theme. theme. exhibition the and artworks their between relationship the and practices artists’ into insights valuable and rare offered forums and talks Artist Forums and Talks Artist Wales. South New of Governor CVO, AC Her by hosted generously House Government at areception attended community diplomatic the and artists Visiting Island. Cockatoo launched NSW,officially Destination of Officer Executive Chief Chipchase, Sandra and Carriageworks, launched officially Sydney, of Mayor Lord Moore, Clover representatives. government senior of support ongoing the as well as governments, city and state federal, the with relationship close Biennale’s the celebrated week opening throughout held receptions and launches Exhibition Exhibition Launches and Receptions guests. 6700 than more by enjoyed was Vernissage the venues, major all across held and Australia Virgin and Airways Etihad by day.Co-presented preview professional Vernissage the at public the of ahead day one exhibition the enjoyed community arts Australian the and media guests, industry supporters, Partners, Vernissage events. networking industry and tours guided receptions, government foreign symposium, atwo-day performances, 18 talks, artist 53 launches, exhibition five including events, 125 heralded Sydney Turbine Hall, Cockatoo Island Island Cockatoo Hall, Turbine Supporters and Artists for Celebration Opening 18 the of week opening The Week Opening

Excellency Professor Marie R. Bashir Bashir R. Marie Professor Excellency

th Biennale of of Biennale

Vittoria Coffee and Yering Station. Station. Yering and Coffee Vittoria Hire, Valiant Security, MSS & Events, Catering Forte Dry, Super Asahi Aesop, of support the without possible been have not would occasion the event, the design to Studio Foolscap and Authority Events The with closely Working Hall. Turbine monumental the in guests 1900 than more with Island, Cockatoo on Supporters and Artists for Celebration Opening the hosted Biennale The Supporters and Artists for Celebration Opening 40-43. pages to refer Program, Public Biennale’s the on information For more Hall. Recital City the at Address Keynote Biennale the delivered Beesley Philip architect and artist international Esteemed Benjamin. Roger and Best Susan King, Natalie including speakers Australian as well as Maaka, Roger and Hui Boon Tan Imamura, Yusaku Gielen, Pascal participants panel international artists, Biennale included Symposium the Wales, South New of Gallery Art Theatre, Domain the at Held ahighlight. also was Symposium Week Opening two-day The discussions. open in participate and first-hand, work their about talk artists hear to opportunity the with public general the provided events intimate These weeks. opening exhibition’s the during venues four across held were artists Australian and international 53 by talks artist Free

and photographic opportunities. photographic and interview sought-after facilitating artists, and artworks venues, Biennale to access full with press the of members provided preview guided all-day the Australia, Art Contemporary of Museum the at function official an with Commencing press. international and national local, including guests, 150 than more by attended was venues, major all across hosted Preview, Media The PreviewMedia highlight. week opening an again once was Briefing Friends’ Biennale The McMaster. Gerald and Zegher de Catherine Directors Artistic by led tour guided all-day an at installation exhibition’s the of stages final the view to opportunity arare enjoyed benefactors 80 than More exhibition. the see and artists the meet to opportunities with supporters provide to week opening during held were events behind-the-scenes special of A number Tours Behind-the-Scenes and Previews Special

opening week 39

40 s m a gr o r p c publi and ents v e by Biennale volunteer guides. volunteer Biennale by supported students Administration Art and Education Art History, Art CoFA by led were and Wales South New of University the at (CoFA) Arts Fine of College the with partnership in presented were They engagement. audience greater promoting artworks of ideas and themes the on focused tours The Island. Cockatoo of tours guided free 230 over enjoyed community, arts the of members and students to public general the from ranging people, 5500 than More Kingston. Peter and Anderson Lisa including artists, and gallerists Sydney notable and Moran; Bridie programmer Radio FBi Firstdraft; of Director Balmain, Justin Watts; Oliver and Gregory Tim bloggers art (MissChu); Chu Nga and ( Liaw Adam chefs celebrity Carriageworks; of Director Havilah, Lisa including: guides tour with Saturdays, 11 over Island Cockatoo on held again once were Tours Mystery popular the 2012, In visitors. 3000 than more by attended venues, main three the across public the to talks 53 gave artists week, opening In exhibition. the throughout venues major all at daily presented were tours guided Free exhibition. the in works and themes the with deeply more engage to audiences encouraged tours and Talks Tours and Talks tours. access and lectures keynote schools, and teachers for tours families, and kids for programs forums, tours, guided free talks, artist included Highlights appeal. popular broad had and feedback positive received events and programs engaging The venues. Sydney-based and regional various at presented were programs satellite 16 Additionally, alone. programs Island Cockatoo attending 20,000 than more with visitors, 42,000 over by enjoyed were These venues. Biennale’s the across presented were performances and programs public separate 170 than more exhibition, the Throughout arts. visual the with engagement community and to access facilitated that programs developing on was focus the again, Once ages. all of visitors and audiences diverse to catered Program Public and Education The Events Programs Public and

MasterChef ) The 18 The Lectures and Forum Symposium, carers. their and disabilities with living people for artworks and themes key exhibition’s the up opened tours the Sydney, of City the and Sydney of Biennale the by Presented Wales. South New of Gallery Art the and Australia Art Contemporary of Museum the Island, Cockatoo venues: main exhibition’s the at days separate three on held were audiences, hearing-impaired and vision- for Tours, Day Access Community Mayor Lord Anthony Professor and King Natalie Benjamin, Roger Professor Macgregor, Ann Elizabeth Tony by Bond, chaired were sessions The Wolseley. John and Wright Judith Watson, Judy Fenner, Felicity McLean, Ian Professor Clarke, John Professor Wallen, Laurence Professor Best, Susan Dr included speakers Australian Imamura. Yusaku and Hui Boon Tan Beesley, Philip Mingwei, Lee Danh, Binh Balasubramaniam, Alwar Massumi, Brian Professor Maaka, Roger Professor Gielen, Pascal Professor Associate guests international included participants Panel public. the and community arts the of members professionals, industry 400 than more by attended was event The relation. and –communication exhibition the of theme core the reflected and audience the and panelists between dialogue up opened discussions panel subsequent The artists. exhibiting of work the and exhibition the of themes main the on papers short deliver to invited were academics and artists Visiting Wales. South New of University the at Arts Fine of College the and Sydney; of University The Culture, Visual and Art for Foundation Institute Power the and Arts of Faculty the Sydney; of University The at (USSC) Centre Studies States United the (UTS); Sydney Technology, of University the with collaboration in organised was Symposium The Wales. South New of Gallery Art Theatre, Domain the in days two over place took Symposium Week 18 the delivered Beesley Philip architect and artist Canadian esteemed The th Biennale Keynote Address at the the at Address Keynote Biennale th Biennale of Sydney Opening Opening Sydney of Biennale

Burke. Burke.

Director, Gerald McMaster and 18 and McMaster Gerald Director, Co-Artistic of comprised was panel The relations our all to public general the of members and professionals industry academics, students, of response the explored and exhibition, the of Saturday last the on place took Forum Week Closing The Fellow. Curatorial OAM Waterlow Lord Annika Kristensen, the Kristensen, Annika by apresentation included event The discontent. of literature Egyptian standing along- to references and ‘revolution’, word contested the surrounding issues art, Egyptian post-revolutionary and pre- examined Ferguson Professor lecture, awide-ranging In Spring’. Arab ‘The as known now events the to reference particular with society and politics art, between relationship the investigated lecture The Cairo. in University American the at Sciences Social and Humanities of School the of Dean W. Ferguson, Bruce Pharoahs entitled Lecture, Memorial OAM Waterlow Nick The was Beesley art. and philosophy science, technology, between relationship the explored lecture Beesley’s Hall. Recital City Tsoutas from Sydney College of the Arts. the of College Sydney from Tsoutas Nicholas by chaired was discussion The Watson. Judy and Suwannakudt Phaptawan Jones, Jonathan Johnson, Tim Cardoso, Fernanda Maria artists

Mayor of Sydney. of Mayor , was delivered by Professor Professor by , delivered was

introduced by Clover Moore, Moore, Clover by introduced Not In The Age Of The The Of Age The In Not

inaugural Nick Nick inaugural th . Biennale Biennale

events and public programs 41

42 s m a gr o r p c publi and ents v e 18 the for Island Cockatoo on adventures Hound’s News Dog the Harry to dedicated was insert Telegraph Funday The of edition Aspecial exhibition. the of tours kid-friendly led and appearances special of anumber made Hound, News Dog the Harry mascot, Telegraph Sunday The Biennale. the of themes the to relating artworks own their create could old, and young kids, where stations craft and art included Sunday Family each exhibition, the with engage to families for Designed Island. Cockatoo on presented were Sundays Family Biennale three Telegraph Sunday The with association In stories. hidden exhibition’s the uncover to designed artworks of descriptions kid-friendly providing Island, Cockatoo on works key highlighted which created Tour was Audio aKids addition, In children. for suitable activities and artworks via exhibition the through way their navigate to families their and Trail A Kids events. and tours audio publications, dedicated with Days, Kids’ 2010 the of success the upon build to developed was program families and kids extended An Families and Kids for Program attending Cockatoo Island alone. alone. Island Cockatoo attending Led event. each attending educators 40 than more –with (MCA) Australia Art Contemporary of Museum the with Event Educator aCombined to addition in Island, Cockatoo on held was tour Ateacher alike. teachers and students for held were events education of A series Programs Education programs. other and these realise helped volunteers Education and Program Public 50 of A total child. their with activities hands-on creative and play, directed tours, guided special with exhibition the experience to opportunity the 3years to 6months from aged children of carers and parents offered Biennale Baby years. 12 5and between aged children by attended were July,and of week second the in days four over held were workshops holiday Out School’s educators. childhood early experienced with developed programs, Biennale Baby and Out Schoolʼ’s the include to expanded families and kids for offerings Biennale’s the 2012, In Sundays. Family Biennale three the over Island Cockatoo explored the 18 the experience to students 15,000 than more enabled venues major all across guided) self- and guided (both tours Education excursions. own their conduct and plan to required information the with teachers equipped and syllabus Arts Visual NSW the with artworks linked tours these th Biennale. More than 16,000 visitors visitors 16,000 than More Biennale.

by Biennale and MCA education staff, staff, education MCA and Biennale by th th Biennale, with over 7500 students students 7500 over with Biennale, booklet allowed children children allowed booklet

school school , a ten-day residency at Campbelltown Campbelltown at residency a ten-day undertook Myre Nadia artist Nations First Canadian industry. arts local the of enrichment the to contribute significantly and communities regional and local with engage to opportunity an artists international offered residencies The artists. international visiting 21 for residencies provide to galleries and schools colleges, universities, Sydney-based with partnered Biennale The NSW. &Galleries Museums from support with possible made was program This Gallery. Art Regional Macquarie Port the and Gallery Regional Grafton Gallery, Regional Mosman Gallery, Art Region Newcastle Gallery, Art City Macquarie Lake Gallery, Regional Tamworth Gallery, Regional Bathurst Gallery, City Wollongong included centres regional Participating organisation. an as Biennale the of understanding and knowledge improving as well as particular, in To extend access to the 18 the to access To extend afford. to able been have not otherwise would they costs travel and hire bus for schools the reimburse to Biennale the enabled NSW, Arts from agrant by supported program, The 2012. in Biennale the visit to schools (PSFP) Program Funding Schools Priority ten funded program subsidy travel successful The generally and the 18 the and generally art contemporary of, knowledge and in, participation stimulating Wales, South New toured staff education Biennale by presented series lecture A regional communities. multicultural and schools centres, arts regional from audiences strengthened exhibition 2012 the for developed program outreach The Program Outreach Tipoti. Alick artist Biennale and curators MCA staff, installation Biennale with interact to able were they where technology video-conferencing via exhibition the of walk-through aremote in participated schools three Learning, Innovative for Centre National the of facilities the Using MCA. the with partnership in inaugurated was Digital Excursion A successful home. at or classroom the in resources, friendly click- high-calibre, with generation younger our of natives digital the engage to designed space online secure a was site Collaborize Students Biennale The ideas. and strategies teaching share to educators for opportunities and resources with complete Biennale, the and other each with connect to educators enabled that network social Collaborize and educators, for Ning introduced: were platforms online two areas, remote in students and teachers to Sydney of is a is Ning students. for

th Biennale exhibition exhibition Biennale th Biennale Biennale program program Beyond Empathy. Beyond by facilitated was program The UNSW. at Arts Fine of College the at workshop afive-day as well as Grzymala, Monika with conjunction in workshop aprintmaking in participated artists the Sydney, In Wales. South New north-west in Bogabilla in based Papermakers, and Artists Euraba the from women five for program avisiting facilitated Sydney of Biennale the program, residency and outreach the of part As period. a six-week over exhibition the visited people 2283 Some days. three just in Powerhouse Casula at own their of exhibition an open and install develop, conceive, to schools high Sydney south-west from artists aspiring eight with forces join students college art eight 8x8 Project the presented Sydney of Biennale the MCA, the and Centre Arts Powerhouse Casula with collaboration In prints. chlorophyll process, photographic of form aunique in expertise his sharing Photography, for Centre Australian the at program amasterclass and Centre Arts and Gallery Art Regional Hazelhurst at residency athree-week undertook Danh Binh artist Vietnamese/American students. SCA by exhibition the of duration the for realised was which aspect, performative apowerful had work The studio. her in students with Overtime Dreamed He artwork her realise to (SCA) Arts the of College Sydney at residency eight-week an undertook Häussler Iris German-born Canadian-based artist exhibition. the for work exhibited her Project, Scar The of development the in residents local engaging Centre, Arts , giving lectures and working working and lectures , giving , which saw saw , which 200 guests. 200 than more by attended was and Arts the for Council Australia the by hosted generously was event The artists. exhibiting and guests international welcome to community arts Australian the for Wales South New of Gallery Art the at held was lunch A special Hobart. in DETACHED visited Abe Sachiko while Bundanon, at a residency undertook Vermeire Katrien Artist Art. New and Old of Museum the visited and School Art Tasmania of University the at students and staff addressed he where Tasmania, to travelled Gielen Pascal Professor Australia. across curators and artists with connect and Sydney outside travel to visits their extending guests Biennale facilitated programs Visitor exhibition. current and programs, and artists its gallery, the into insights providing venue, each at delivered were Talks Sydney. Gallery, Schwartz Anna and complex; Street Danks the Gallery; Rabbit White Foundation; Art Contemporary Sherman Oxley9; Roslyn including galleries, Sydney visiting day afull spending artists and critics gallerists, curators, international 30 with network, to guests international Biennale’s for the opportunities provided also tours Industry world. the around and Australia across from curators and artists connected events networking industry and Visitor Event Networking and Program Visitor International Other Events and Public Programs Public and Events Other the company. the and Keersmaeker De Teresa Anne from learn to opportunity once-in-a-lifetime the afforded were dancers outstanding (20) Twenty events. week closing the of part as September 15 Saturday, on Carriageworks at Rosas with held was dancers professional for A masterclass Rosas Masterclass purposes. and audiences different for art about writing to approach their develop to students tertiary selected with aworkshop ran each who Wolfe, Sharne reviewer and McDonald John critic art Hibberd, Lily writer and artist based Melbourne- Roth, Moira historian art US included Writers exhibition. the during writers arts aspiring 15 for program writing arts an conducted Biennale the Limited, Agency Copyright the by Supported Program Writing Art art. at looking of ways new explore and skills drawing their develop to opportunity an participants offering Island, Cockatoo at exhibition the through excursion drawing a led artist Sydney-based adifferent week Each eyes. artist’s an through exhibition the at look to opportunity an providing program anew was Sketch Saturday Saturday Sketch

and engaging manner. engaging and accessible alight-hearted, in created, was it which by process the also but exhibition, the only not examine to aimed programs The studio. Radio FBi the from program Australia Art Contemporary of Museum adedicated and Island; Cockatoo and Wales South New of Gallery Art the at broadcasts outside two held: Biennale Family Sunday activities on Cockatoo Island Cockatoo on activities Sunday Family Biennale Below Island Cockatoo on talk artist Spong, Sriwhana Wales South New of Gallery Art the at special 18 three Radio, FBi with conjunction In Broadcasts Canvas Radio FBi 18 top) from 41 (page page Previous th th Biennale Opening Week Symposium Week Opening Biennale th Biennale broadcasts were were broadcasts Biennale

events and public programs 43

45 2/3 R PIE @ R BA BIENNALE Clockwise from top Kellie O’Dempsey performance for the Biennale Bar @ Pier 2/3, Walsh Bay Friday, 24 August 2012 Interacting with Augmentiforms and dLuxMedia Arts at the Biennale Bar @ Pier 2/3, Walsh Bay Friday, 3 August 2012 Sydney Chamber Opera performance for the Biennale Bar @ Pier 2/3, Walsh Bay Friday, 31 August 2012 Opposite Biennale Bar @ Pier 2/3, Walsh Bay Friday, 24 August 2012 The Biennale Bar was also supported through eventpartners Yering Station and Vittoria. Amongst the large-scale installations on the lower-level of the Pier, guests enjoyed special programming and different experiences each week:augmented reality interventions with Augmentiforms and dLux Media Arts on 3 August; hip hop, vintage printing presses and nail art with The Thousands (10 August); DJ setsfrom FBi Radio (17 August); a live drawing performance with Kellie O’Dempsey and musician Mick Dick (24 August); and an enthralling song-cycle by the Sydney Chamber Opera (31 August). The Biennale Bar @ Pier 2/3, presented by Asahi Super Dry, was a popular after dark event enjoyed by more than 4600 guests over five Friday nights in August. Designed by Asahi, the bar space welcomed visitors to the atmospheric Pier 2/3 and provided a perfect backdrop for a social Friday night event; drawing a young crowd to the Walsh Bay precinct. Biennale Bar @ Pier 2/3

BIENNALE BAR @ PIER 2/3 44

47 FUNDING CULTURAL Biennale of Sydney (2012) , 2012 th

copies were distributed to schools

at Cockatoo Island Courtesy the artist This project was supported by the National Art School through its artist-in-residence program Student Newspaper Student The popular free Student Newspaper provided students and teachers with a fresh and interactive format to encourage engagement with artworks and themes across all the Biennale venues. Produced as a stimulus resource for Years 9–12 visual arts students, the six-page broadsheet-style newspaper explored selected artists’ practices in relation to the exhibition themes. It included a zine insert that encouraged students to create their own record of the exhibition, as well as an interactive folded icosidodecahedron by artist Zoe Keramea. Some 16,000 hard and through venues, as well as being online. available Installation view of the 18 Above Learning Zone on Cockatoo Island Cabinet of Curiosities at the Learning Zone on Cockatoo Island Opposite Eva Kot’átková SpeakingTheatre of Objects

Biennale, as th ’s Rhys’s Muldoon, was developed well as providingcurriculum-friendly information on the exhibition, artworks and artists. The kit was developed as a series of artist packages for the Biennale website (bos18.com), published online in the months leading up to the opening. exhibition specifically for children.Vodcasts were available online and at the Learning Zones, featuring artist interviews, artist talks, performances and installation footage. An extended digital educational resource was made available especially for use in schools. The artist videos and extended digital education resources were developed with the support of the Gordon Darling Foundation. Teachers’ Education Kit The free Teachers’ Education Kit was an important aid for schools wishing to plan Biennale excursions and associated classroom work. The Education Kit was conceived of as a case study series focusing on key artists in the 18 Online Resources Online thisFor exhibition, the Biennale produced an expanded series of video interviews with artists and extended interviews with the Artistic Directors, exploring the main themes of the exhibition and providing their personal insights into the process. Anaudio tour, featuring Play School

Cockatoo Island Map A folded Cockatoo Island Map was produced to offer visitors an alternative to the Biennale Guide, including a venue map, artwork locations, transport information and the Biennale Art Walk Map. Some 100,000 copies were printed and distributed on Cockatoo Island. An additional 6400 maps were downloaded from the website. Learning Zones Biennale Learning Zones and Art Lounges provided a comfortable environment for visitors to engage further with the exhibition, artists and curatorial themes. Installed at Pier 2/3 and Cockatoo Island, Learning Zones featured screens showing artist interviews, and provided access to catalogues, student newspapers and guides. Visitors were also able to download the Kids Audio Tours and vodcasts to iPods or mp3 players. An education-focused Cabinet of Curiosities engaged visitors in the hands-on experience of exploring the materials and processes of various artists at the main Learning Zone on Cockatoo Island. Resources

resources 46

49 handise rc e m Biennale merchandise, merchandise, Biennale Biennale range of th th

Biennale catalogue th Opposite Biennale Art Shop on Cockatoo Island Image courtesy Third Drawer Down Above 18 Merchandise theFor first time, the Biennale partnered with Melbourne-based retailer Third Drawer Down to present the Biennale Art Shop on Cockatoo Island, stocking 18 limited-edition merchandise included an umbrella, tote bag and badge set. Select merchandise was also available at the Museum of Contemporary Art Australia, the Art Gallery of New South Wales and online from the Biennale website. Biennale artist products, and hand-picked gifts by Third Drawer Down. The exclusive 18 venues, transport and events.

Biennale Guide The free Biennale Guide provided audiences with information on exhibition The pocket-sized guide included detailed venue floor plans and maps, images for every artist, as well as program information and an events calendar. Printed in full colour, the 62-page guide was designed to assist visitors in navigating the city-wide exhibition. Some 110,000 copies were printed and distributed at exhibition venues. The guide was also available online and was downloaded more than 8300 times. Brian ), Catalogue The exhibition catalogue was a 400-page publication encapsulating and reflecting the exhibition themes. Featuring a unique 160 split-page format, the catalogue included essays by Bruno Latour (Sciences Po), Michael Hardt (Duke University) and Thomas Seeley (Cornell University), with commissioned contributions by Jean Fisher (Royal College of Art, London), David Abram (author of The Spell of the Sensuous Massumi (University of Montreal), Erin Manning (Concordia University), Roger Maaka (EIT, New Zealand) and poet Lionel Fogarty, as well as contributions from Everlyn Banerjee, Subhankar artists and Balasubramaniam Alwar Nicodemus, Philip Beesley. The catalogue also featured original texts on every artist, full-colour images of artworks, as well as selected solo and group exhibitions, and a selected bibliography for each artist. Publications and Merchandise

Publications and Merchandise 48

51 h rc esea r e c audien and e c attendan

, 2012 Biennale of Sydney (2012) at Cockatoo Island th Biennale of Sydney (2012) at Cockatoo Island th , 2005–12 Courtesy the artist and Anna Schwartz Gallery,Project Melbourne team: and Jeph Sydney Neale and Hilary Jackman, Chris Knowles,Stephen Jones, Mike Leggett and volunteer performers This project was supported by the National Art School throughartist-in-residence its program Above Nadia Myre The Scar Project Installation view of the 18 Courtesy the artist and Art Mûr, Montreal This project was supported by Campbelltown Arts Centrethrough its artist-in-residence program Opposite Lyndal Jones Rehearsing Catastrophe: The Ark in Sydney Performance for the 18 Biennale (2006) recorded 316,811 visits. Biennale (2004) recorded 281,351 visits. Biennale (2008) recorded 436,150 visits. Biennale (2002) recorded 245,394 visits. Biennale (2010) recorded 517,421 visits. th th th th th The 14 The 16 The 13 Art Gallery of New South Wales, Museum of Contemporary ArtPier Australia, 2/3, Cockatoo Island and Carriageworks. The 15 Attendance in 2012 was measured using the same methodologyas used for the 2010, 2008, 2006, 2004 and 2002 events. Visitation is measured as ‘visits’ not ‘visitors’, as one person may makevisits multiple to the exhibition. i A The 17

ccess Economics report, February 2011.

bid 2 3 4 5 while 4

The significant increase 5 in visitation from 2010 to 2012 will augment these positive results. Economic contribution over of $63 million Drawing international and interstate visitors to Sydney, the Biennale generates substantial economic and tourism outcomes for Australia, New South Wales and Sydney, and continues to make a significant impact upon the nation’s cultural capital. The economic contribution of the 2010 exhibition to NSW is calculated at $50.2 million, the total economic contribution of the 2010 exhibition (to Australia) iscalculated at $63.9 million. period.

ere likely or extremely likely to ere first-time visitors (56%) ere attending the venue mainly to ere tourists (41%), with 15% from ad a positive overall experience (97%) ad been influenced to attend by Biennale of Sydney was conducted ited the artworks (74%), unusual iked Cockatoo Island (82%), with one venues (20%), free entry (16%) and free ferry (8%) as the items they liked the most about the Biennale recommend the Biennale to others (92%) w w visit the Biennale (67%) w outside Australia, 15% from Australia but outside NSW, 11% from NSW outside Sydneybut l in two rating it as ‘excellent’ h marketing material (40%), word of mouth/recommendation (40%) and paid advertising (36%) c h w th

• • • • • • • by key sector body, Museums & Galleries NSW. More than 1800 surveys were administered at exhibition venues or online during the 12-week exhibition Key findings from the venue-based research indicated that visitors: • Audience Research Independent audience research on the 18

3 an increase of 2 29 per cent and 148,027 visits over 2010 attendance figures. Attendance and Audience Research A total of 665,448 visits were recorded venues, five over The Biennale’s record figures were fuelled by the number of people who visited the non-museum venues, Pier 2/3, Cockatoo Island and Carriageworks, which accounted for over 40 per cent of total visitation. Cockatoo Island recorded over 210,000 visits, more than double the visitation achieved for its inaugural use in 2008 and a 33 per cent increase on 2010 visitation. The redeveloped Museum of Contemporary Art Australia also received its highest attendance for a Biennale, with more than 241,000 visits, an increase of 39 per cent on 2010 visitation.

attendance and audience research 50

53 ity c publi and edia m

United Kingdom) United Kingdom) United Kingdom) ( ( (Singapore) ( Inflight and Travel Scoot Inflight Magazine Radio BBC Service World The Strand Modern Weekly (China) Survey Management Spears’ Wealth Air FranceMadame (France) BA High Life Magazine (United Kingdom) Magazine Business Traveller GQ Italy Online (Italy) Art Publications ArtAsiaPacific Art and Auction Art in America Art in Asia Art News New Zealand The Art Newspaper Artforum Asian Journeys Canadian Art Flash Art International Frieze Magazine HART Magazine Il Giornale dell’Arte Kunstforum Modern Painters Lifestyle Publications

(Belgium)

(National) Hong Kong) ( Handelsblad The National Post (Canada) The New Zealand Herald Zealand) (New The South China Morning Post (Hong Kong) The Wall Street Journal Asia (Hong Kong)

Lifestyle Publications Belle Harper’s Bazaar GQ Magazine Time Out Sydney the(Sydney)magazine Qantas Australian Way Urbis Virgin Australia Voyeur WISH Magazine Weekly Women’s Radio 2GB ABC Radio National National Books and Arts Program FBi Radio (Metropolitan Sydney) Selected International Coverage Newspapers The Bangkok Post (Thailand) The Daily Telegraph (United Kingdom) The Financial Times (United Kingdom) The Globe and Mail (Canada) The Hong Kong Economic Journal The Korean Herald (Korea) Krant van West-Vlaanderen Kortrijks

(43 articles)

he Sunday Telegraph (33 articles) he Weekend Australian (20 articles) T T he Sun-Herald he T The Advertiser Adelaide The Age (Melbourne) The Australian Financial Review News Brisbane The Canberra Times The Courier Mail (Brisbane) Art Publications Art and Australia Artist Profile Australian Art Collector Broadsheet Limelight Selected Coverage within Australia Television ABC TV Breakfast News ABC Evening Channel 7 Sunrise Network 10 News National Indigenous TV Qantas Inflight TV SBS News World Newspapers The Sydney Morning Herald and The Daily Telegraph and The Australian and Biennale Media Preview th Biennale Media Preview th Biennale Media Preview th Special thanks to the staff of [art]iculate and Sutton PR for their dedication and hard work. Top from left Alick Tipoti at the 18 Gerald McMaster at the 18 Catherine de Zegher at the 18 Media Preview The Media Preview was attended by 150 media representatives, providing key media outlets with access to the exhibition prior to the public opening and facilitating artist interviews, opening day imagery, TVnews coverage and advance access for media needs. The Artistic Directors led the preview, which commenced at the Museum of Contemporary Art Australia and followed on to Cockatoo Island, Pier 2/3 and the Art Gallery of New South Wales.

seen in the arts (29 per cent), travel

per cent) and radio (86 per cent)

Media andPublicity International and National Markets With more than 375 international media clippings, there was an overall increase in international media coverage (7 per cent). Increases were seen particularly in the travel (33 per cent) and general news (125 per cent) media categories. In Australia, there were over 580 media clippings from Sydney, New South Wales and Australia. Significant increases were (240 Strong Media Coverage in both media categories. There was an increase in online media mentions (11 per cent), with 23 per cent of overall media coverage occurring online.

media and publicity 52

55 n g pai m a c g etin rk a m

Company.

Venue PublicityVenue and Promotion The Biennale collaborated with exhibition venues to ensure a coherent, consistent campaign. Venues promoted the Biennale through publicity, direct mail-outs, brochures, features and promotions on their websites, direct marketing and social media, print advertising, and indoor and outdoor signage. Cross-promotions The Biennale arranged cross-promotions with partners, sponsors and peer arts organisations, including Art Month Sydney, Casula Powerhouse, City of Sydney, Historic Houses Trust, Creative Sydney, Sydney Opera House, Portable, Grand Designs, Sydney Dance Company, Sydney Festival and Sydney Theatre , , , and Art , Art , Broadsheet The Sunday , GALLERY . , Artist Profile ) and Time Out Sydney , The Art Newspaper , Artonview , Flash Art International and , allowed time for international Print Advertising Print New partnerships were confirmed with News Limited ( Telegraph ensuring an enhanced advertising presence in metropolitan Sydney with a key general public audience. Print advertisements were also placed with The Sydney Morning Herald (Spectrum) to augment media activity. With the support of News Limited and Destination NSW, the Biennale published a four-page special feature in The Weekend Australian in June, ahead of the exhibition opening. Early advertising in international arts publications, including, ArtAsiaPacific Artforum Review Frieze visitors to plan their travel. The national campaign included advertising in Time Out Melbourne and in several arts publications, such as Art & Australia Art Almanac Guide Australia Artifacts

copies). Biennale was also distributed

second half of the exhibition th

in the The Biennale sent dedicated e-cards to promote specific programs and events, including the Education and Public Program, the Biennale Bar @ Pier 2/3 program and the Rosas performances at Carriageworks. Direct Marketing Marketing Direct and Promotional Materials In June 2011, 5000 preview brochures were circulated to arts professionals at the Venice Biennale and Art HK. The brochure included information on the exhibition theme and selected artists. In the same month, 2800 international and Australian contacts received the preview brochure by mail. Additionally, some 7000 international and Australian contacts received advance information via email. enhanceTo marketing activity in the opening weeks, the Biennale produced and distributed a Biennale Mini Guide with the support of media partner, Avant Card. Some 30,000 copies were distributed through the Avant Card networks, with a further 10,000 copies distributed at Carriageworks. A postcard promoting the 18 (10,000 7 Biennale campaign items on Macquarie Street, Sydney th As at 27 September, for the period 1 February – 25 September 2012. As at 27 September 2012.

Information point along the Vittoria Biennale Art Walkat Circular Quay Top from left Banners on display in Martin Place 18 Instagram and Flickr groups provided a way to share artwork images during the exhibition. A Tumblr blog supported ‘Moira Roth’s Gleanings’, an online exhibition project. Informative e-newsletters were sent regularly to more than 14,000 subscribers and drove traffic to the website. 6 7 and transport. The mobile site was accessible on all smart phones, including Apple iOS and Android platforms. The Biennale also made use of social media channels to engage with audiences. Up-to-date information and conversation about the event was provided via the Biennale of Sydney’s channel, YouTube Twitter account (with more than 8000 followers) and Facebook page (where the number of ‘likes’ trebled to more than 28,000 throughout the exhibition).

The 6 generating

Biennale website (bos18.com) th South Wales and Carriageworks.

attracted more than 236,000 unique visitors from 160 countries, more than a million pageviews. Walk and featured Biennale supporters. This wasthe third time the Biennale has used information points, which increased overall awareness of the event among tourists and Sydneysiders at busy, key locations such as Circular Quay and the Royal Botanic Gardens. signageVenue using the 2012 branding was also in place on Cockatoo Island, and the Pier 2/3, at Museum of Contemporary Art Australia, theArt Gallery of New website provided information on artists, venues, events, the exhibition concept and visiting Sydney. The site also included a media centre, education downloads, audio and video content (artist interviews, artist talks, performances and installation footage), as well as event and artwork images. Information was easily accessible and could be translated into more than 60 languages, making it available to non-English speaking audiences. theFor first time, the Biennale developed a mobile site to provide visitors with venue maps, rich content, and information on artists, exhibitions Website and Social Networking The 18 , Biennale artist Zoe Keramea, th information points detailed the Major

Venues, outlined the Vittoria Biennale Art and featured a colourful palette. The identity also continued the public message of Art. World of ‘A Here. Now.’ The extensive outdoor marketing campaign – consisting of posters, banners and outdoor signage – ran during the three months of the exhibition. Thanks to the City of Sydney and the Sydney Harbour Foreshore Authority, some 291 banners were displayed in concentrated bursts on high-traffic streets in the CBD, including: Martin Place, George Street near Hall, Town Macquarie Street, Elizabeth Street, College Street, along Hickson Road, Walsh Bay near principal venue Pier 2/3, and around the highly visible Circular Quay promenade. Thanks to the generous support of Major Partner JCDecaux, large-scale posters had a total of 731 placements on Citylight street furniture in the CBD and inner suburbs over four weeks. Information points were placed in 14 locations for the duration of the exhibition – ten along the Vittoria Biennale Art Walk and four on Cockatoo Island. The Highly Visible Outdoor Campaign throughout City and Venues The marketing campaign was led by a visual identity created by Sydney design studio, Collider. The design incorporated the use Lines of Journey by 18 Marketing Campaign

marketing campaign 54

57 s r tne r pa ,

)

once , ,

Loves , and the made it , communications, Look Print Look . provided Biennale Sydney of , the Museum of th continued its support of the and Asahi Super Dry Living Chasm – Cockatoo (previously Sydney Ferries support.

Cosway Australia and legal firm provided the Biennale access Scanlan & Theodore helped created an created eye-catching that was featured on countless

, to life. Panasonic works.

; while Industries Mee and SGS Pacific also provided umbrellas.

Opposite from top from Opposite Her Excellency Professor Marie Bashir AC CVO at the Governor General’s Reception Clover Moore, Lord Mayor of Sydney, at the Carriageworks Venue Launch for the 18 provided security needs for venues Cockatoo Island and Pier 2/3; and Harbour City Ferries transported Biennale staff and volunteers to and from Cockatoo Island. Major Partners Venue Art Gallery of New South Wales Contemporary Art Australia Sydney Harbour Federation Trust and Presenting Partner Carriageworks provided vital support and assistance that enabled the presentation of an expansive exhibition. Collider graphic items, including posters, invitations and Europcar to its fleet of rental trucks; Security MSS Other new partners Bloomberg Data valuable financial, marketing and operational possible to bring Fujiko Kakaya’s fog installation, Island numerous projectors for the many video again produced banners for all venues and the free ferry service. Yering Station supported as Major Partners of our various events throughout the exhibition, including the Biennale Bar @ Pier 2/3. This year, we welcomed a number of new partners, including The Sunday Telegraph presenting partner of the Biennale Family Sundays. realise Daan Roosegaarde’s installation Dune Vittoria Coffee Vittoria Biennale Art Walk and through the generous supply of product for key events on Cockatoo Island and at Pier 2/3. The Biennale has benefited from the professional expertise ofmany, including that of prestigious international firm PricewaterhouseCoopers consultant EllisonMinter Lawyers , joined ,

, Avant banners once again to co-present and , FBi Radio ferry service to kept our artists , STUDIO , each contributing , Artist Profile once again went above and Celebration for Artists and

, ArtAsiaPacific support.

, Eventfinder In 2012, a number of corporate partners consolidated or increased their support of the Biennale. The generous support of The Balnaves Foundation made possible a free Cockatoo Island for the three-month duration of the exhibition, enabling us to consolidate our mandate – which is to present a free exhibition to the broadest possible audience. This year, more than 140,000 people used the free service to Island. Cockatoo Returning Airways sponsor Etihad forces with Virgin Australia banner poles around the city and Sydney Harbour Foreshore Authority around Circular Quay. Other media partners included Art & Australia Card the Biennale’s Vernissage. The support of these airlines ensured that our artists and guests travelled safely and in style, both internationally and interstate. International Art Services continued to provide key logistic and freight support, delivering art from 32 cities worldwide to our venues. Deutsche Bank once again provided generous assistance. The Biennale’s sophisticated marketing campaign was boosted through the support of Major Partner JCDecaux providing us with more than 700 placements throughout Sydney across four weeks. This support was enhanced by the donation of City of Sydney The Thousands Accommodation partner the Sofitel Sydney Wentworth and international and interstate visitors happy and well rested with their attentive and accommodating assistance. Valiant Hire beyond in its support for the Biennale, by providing the furniture used in the Biennale exhibition venues Cockatoo Island and Pier 2/3, at key events such as the Opening Supporters; the Biennale Bar @ Pier 2/3; as well as the Biennale office. Time Out Sydney valuable programming, promotional or media , a

Biennale th , provided essential exhibition. These th (VACS) fundingjoint – a , our Founding Partner since support.

. Since 2004, the Visual Arts and The Biennale’s local government partner, the City of Sydney ongoing support and generous advocacy, increasing its contribution to the Biennale of Sydney. Thirty-six (36) Cultural Funding Agencies from 21 countries supported artists projects and Cultural Funding Agencies account for 5 per cent of the Biennale’s income. This essential funding supports the creation and transportation of many artists’ works, and provides the opportunity for artists to travel to Sydney. a full For list of Cultural Funding Agencies, please refer to page 69. Partners provided 23 per cent of the Biennale’s income With an increase in the number of corporate sponsors, revenue from partners contributed 23 per cent of the Biennale’s income for the 18 Craft Strategy initiative of the Australian, state and territory governments – has allowed the Biennale to consolidate a more ambitious exhibition, improve the public program and publications, and present the works of artists who may otherwise have no access to government orcultural funding exhibition’s income. The Biennale of Sydney is made possible through the consistent and invaluable support of the NSW and Australian Arts through NSW governments, department of Trade andInvestment, and the Australia Council for the Arts Australian Government funding partners partners funding Government Australian provided 40 per cent of the 18 Partners vital financial and in-kind contributions allowed for the expansion of the Biennale program, projects and exhibition, as well as providing invaluable professional expertise and support. Transfield 1973, continues to champion the Biennale. With the support of this inspirational model of corporate philanthropy, the Biennale has gone from strength to strength and will continue to do so.

partners 56

59 s r tne r pa

, 2012

Biennale of Sydney (2012) Biennale of Sydney (2012) th th , 2011 Biennale Sydney of th Couples and groups are counted as one.

at Cockatoo Island Courtesy the artist; Konrad Fischer Galerie, Düsseldorfand Berlin; Mother’s Tankstation, Dublin; and GalerieWien Lukatsch, Berlin This project was supported in its entirety by Moderna Museet, The Keir Foundation, Culture Ireland, StiftungKunstfonds and Institute for foreign cultural relations (ifa) Cristina Iglesias Vers la terre Installation view of the 18 at Cockatoo Island Courtesy the artist This project was made possible through the generous support of Marian Goodman Gallery, and New York Paris Some170 art lovers became Friends of the Biennale, giving them access to exclusive events The Friends membership package offered a double guest pass to the Vernissage Preview Opening Day, Celebration for Artists and Supporters, and a special Friends’ Briefing, as well as a complimentary copy of the exhibition catalogue. 8 Below Carriageworks Venue Launchfor the 18 Opposite from top from Opposite Nina Canell and Robin Watkins OVERCOMING THE CURRENT RESISTANCE Installation view of the 18

Thanks to the generosity and support of many organisations and individuals worldwide, the Biennale was able to realise a number of artists’ projects and public programs. the For full list of Project Patrons and Contributors, please refer to pages 68–70. Forty-five (45) Project Patrons, Contributors and Companions supported more than 22 projects The opening week program for supporters featured a range of special events, including exclusive previews, private tours, formal receptions, events with artists, exhibition launches, performances and artist talks. Please refer to page 68 for a list of Benefactors. A special thank you goes to Anita Belgiorno-Nettis, Cathy Cameron, Stephanie Grose, Jane Hayman and Amanda Love for their contribution as advisors on the Benefaction and Committee.Events 8 Biennale of Sydney th supported the Biennale

Biennale of Sydney. Events in 2011 Governors, Ambassadors, Ambassadors, Governors, Bologna. th

and 2012 connected supporters with the Artistic Directors Catherine de Zegher and Gerald McMaster in the planning stages of the exhibition, as well as with visiting international artists and VIPs. In 2011, to coincide with the media launch of the 18 as The advocacy and patronage of our private supporter network directly assists the Biennale’s significant contribution to art and culture, nationally and internationally. Donations from private giving increased by 37 per cent for the 18 More than 102 art lovers directly Benefactors and Companions at the Venice Biennale, special events were organised in Italy for supporters, including a highlights tour led by Catherine de Zegher and Gerald McMaster and a day trip to the Museo Morandi in

partners 58

61 e r expenditu and enue v e r 48%

th 18

th 17

th 16

th 5% 15

th 4 1 19%

th Biennale 13 th 28% Biennale of Sydney to 18

th th .0 Exhibition, Events and Programs Marketing and Development Staff Costs Administration 0.8 0.6 0.4 0.2 1.8 1.6 1.4 1.2 1.0 $2 $ $ $ $ $ $ $ $ $ $ Million $ Expenditure 18 Private Giving 13 ■ ■ ■ ■ 38%

th 18

th 17

th 16

th 3% 15 31%

th 4 1

th Biennale 13 19% th Biennale of Sydney to 18 th th

Australian Partners Government Corporate Partners and Venues International and Australian Cultural Funding Benefactors, Patrons and Friends Other Revenue

9% Million 4 6 8 10 12 2 $ Revenue 18 Revenue andExpenditure Revenue ■ ■ ■ ■ ■ GrowthRevenue 13 $ $ $ $ $ $ free transport services for staff

volunteers.

Biennale Free Ferry on Sydney Harbour Transport to Cockatoo Island theFor third time, the Biennale provided free ferries to Cockatoo Island with generous support of The Balnaves Foundation. Operated by Captain Cook Cruises from Wharf 6, Circular Quay, the Biennale Free Ferry service provided an increased capacity of more than 30 per cent of the 2010 schedule. Once again, the majority of visitors utilised the free ferry service (67 per cent), with 33 per cent of visitors utilising the Sydney Ferries paid timetabled service. Throughout the install and exhibition period, Harbour City Ferries (previously Sydney Ferries) generously assisted the Biennale with and Biennale th Logistics International Art Services (IAS) was again the principal freight-forwarding partner for the 2012 exhibition. The 18 of Sydney borrowed 226 artworks from 23 public lenders, 10 private lenders and 70 artists’ collections. The freighting of artworks and the handling of loans met the highest international standards, with artworks transported from 32 different cities worldwide, including Kigali (Rwanda), Tehran, Seoul and São Paulo. A carefully managed and well-timed freight schedule saw the successful delivery of 22 works by road, 98 by air and 30 by sea, totalling 150 artworks. this For exhibition, we also obtained assistance from IAS in receiving and/or returning six international shipments of materials and equipment used in the creation of new on-site work, of which there were 30 artworks in total. The 2012 exhibition was insured under the NSW Government Scheme. Indemnification Exhibition possible.

Biennale of Sydney would not have th been Accessibility The Biennale is dedicated to improving access for all people to the exhibition, programs, publications and resources. Efforts were made to ensure that visitors in wheelchairs or those with limited mobility were able to access our venues and events as freely and safely as possible. Wheelchair access to the free ferries travelling to Cockatoo Island was provided via Wharf 6, Circular Quay and Pier 2/3, Walsh Bay. Volunteers More than 500 volunteers committed their time, energy and enthusiasm to assist across all areas of the exhibition. Their efforts were integral to the success of the Biennale. Please see page 65 for a full list Biennaleof volunteers. Collectively, our dedicated band of volunteers contributed more than 20,000 hours to the invigilation of artworks on display, the delivery of public programs and marketing initiatives, as well as the provision of information to Biennale visitors. Without a wonderful team of reliable and trusted volunteers, the 18 Operations

operations 60 Artists Official Guests

Sachiko Abe NW OP Yun-Fei Ji NW OP Jon Pylypchuk NW OP Public Program Guests Other International Visitors attending Tan Boon Hui, Director, Singapore Art Museum the Biennale of Sydney included Jananne Al-Ani OP Jin Nü Imran Qureshi NW SV OP Pascal Gielen, Associate Professor, Hoor Al Qasimi, President, Sharjah Art Foundation El Anatsui Jin Shi Robin Rhode OP University of Gronnigen, Netherlands Emma Bugden, Artspace, Auckland Shuvinai Ashoona and Tim Johnson OP Reinier Rietveld and Yusaku Imamura , Director, Tokyo Wonder Site Laura Egerton, Curator, Abraaj Capital, Dubai Roger Maaka, Professor, Eastern Institute of Technology, David Garneau, Associate Professor, University of Regina John Noestheden OP Jonathan Jones NW SV OP Craigie Horsfield NW SV OP Hawkes Bay, New Zealand Judith Greer, Associate Director International Programmes David Aspden Lyndal Jones NW SV OP Peter Robinson SV OP London, Sharjah Art Foundation Nick Waterlow OAM Memorial Lecture Speaker Hou Hanru, Curator, 5th Auckland Triennial (2013) Khadija Baker NW OP Junling Yang OP Daan Roosegaarde OP Bruce W. Ferguson, Dean of the American University in Cairo Jamie Hanton, Director, Blue Oyster Art Project Space, Dunedin Alwar Balasubramaniam NW SV OP Zoe Keramea OP Arin Rungjang NW op Tanya Harnett, Associate Professor, University of Lethbridge Visiting International Media Guests Yuko Hasegawa, Chief Curator, Museum of Contemporary Subhankar Banerjee Bouchra Khalili Khaled Sabsabi SV OP Madeline O’Dea, Modern Painters Art, Tokyo Bahar Behbahani and Eva Kot’átková NW OP Pinaree Sanpitak OP a Cristina Ruiz, The Art Newspaper and Michelle Ho, Curator, Singapore Art Museum r tists Almagul Menlibayeva OP Maria Laet OP Hassan Sharif OP The Financial Times (United Kingdom) Candice Hopkins, Sobey Curatorial Resident, Indigenous Art, Ts Yeung, Hong Kong Economic Journal National Gallery of Canada, Ottawa Philip Beesley NW SV OP Cal Lane NW OP Tiffany Singh NVEW SV OP Gavin Jantjes, Senior Curator, National Museum of Art, 63

62 Nina Canell and Ricardo Lanzarini NW OP Sriwhana Spong NW SV OP Architecture and Design, Oslo Helen Kedgley, Senior Curator Contemporary Art, Pataka Robin Watkins NW SV OP Farideh Lashai Yoshihiro Suda NW OP Museum of Arts and Cultures, Porirua City uests

Maria Fernanda Cardoso and Lee Mingwei NVEW OP Phaptawan Suwannakudt NW SV OP Hiromi Kurosawa, Senior Curator, 21st Century Museum of g

Contemporary Art, Kanazawa ial Ross Rudesch Harley NW SV OP Kamin Lertchaiprasert Yuken Teruya NW Steven Loft, Board Member, imagineNATIVE, Toronto c Adam Cvijanovic NW OP Li Hongbo NW OP Alick Tipoti OP

Jim Logan, Program Officer, Canada Council for the Arts offi Honoré ∂’O NW OP Liang Quan Guido van der Werve Glenn Lowry, Director, Museum of Modern Art, New York Michael Lynch, Chief Executive Officer, West Kowloon Cultural Binh Danh OP Mark Licari NW OP Sarah Vanagt and District, Hong Kong Anne Teresa De Keersmaeker CL Liu Zhuoquan NW OP Katrien Vermeire NW OP Jean-Hubert Martin, Chargé de mission, Direction des Musées de France, Paris Alexis Destoop OP Jorge Macchi Ria Verhaeghe NW OP James McCarthy, Executive Director, Te Tuhi Centre for the Latifa Echakhch Jess MacNeil SV OP Cecilia Vicuña NW OP Arts, Pakuranga Juan Manuel Echavarría Gabriella Mangano and Judy Watson OP Deborah McCormick, Director, SCAPE Christchurch Biennale Cam McCracken, Director, The Dowse Art Museum, Lower Hutt Alec Finlay NW OP Silvana Mangano OP John Wolseley OP Scott McLeod, Director/Curator, Prefix Institute of Gade Erin Manning NW SV OP Judith Wright SV OP Contemporary Art, Toronto Dr Robert Martin, President, Institute of American Indian Arts, Yeesookyung and Gao Rong NW OP Alan Michelson NW SV OP Santa Fe Carlos Garaicoa NW Nadia Myre NVEW OP Park Young-Sook NW OP Kim May, Assistant Director, Singapore Art Museum Emma Nicolson, Director, ATLAS ARTS, Portree Monika Grzymala and Fujiko Nakaya NW SV OP Nyapanyapa Yunupingu Lars Nittve, Executive Director, Museum Plus, Hong Kong Euraba Artists and Makinti Napanangka Patsy Phillips, Museum Director, Museum of Contemporary Papermakers NW SV OP Dorothy Napangardi Native Arts, Santa Fe Thierry Raspail, Artistic Director, La Biennale de Lyon Art Phil Hastings OP Everlyn Nicodemus Laurence Rassel, Director, Fundació Antoni Tàpies, Barcelona Iris Häussler NW SV OP Nipan Oranniwesna NVEW OP Magnus Renfrew, Director Asia, Art Basel, Hong Kong Tony Scott, Director, China Art Projects, Beijing Susan Hefuna OP Ewa Partum NW OP Megan Tamati-Quennell, Curator of Contemporary Maori Nicholas Hlobo NW SV OP Ed Pien with and Indigenous Art, Museum of New Zealand / Te Papa Tongarewa, Wellington Cristina Iglesias OP Tanya Tagaq NW SV OP Matthew Teitelbaum, Michael and Sonja Koerner Director; Mit Jai Inn Postcommodity NVEW SV OP and CEO, Art Gallery of Ontario, Toronto Joni Waka, Director, A.R.T (Art Residency Tokyo) Ann Veronica Janssens NW SV OP Sudsiri Pui-Ock Key Sim Wan Hui, Deputy Director, Singapore Art Museum NW – New work Anthony Wright, Director, Canterbury Museum, Christchurch NVEW – New version of existing work Lim Yeow Ann, Manager (Media and Installation), Singapore Art Museum SV – Site visit

OP – Travelled to Sydney for opening week CL – Travelled to Sydney for closing week Board and Staff Crew, Interns and Volunteers

Sergio Abugattas, Bibiana Acevedo, Heejoo Ahn, Gloria Jeon, Jack Jeweller, Tian Jin, Lorraine Simiana, Andrew Simmons, Katherine Board of Directors Staff Hyoni Ahn, Jennifer Ahn, Torrence Alaska, Hae Jin Han, Catherine Joel, Abilene Johan, Simons, Claire Simpson, Marian Simpson, Elena Luca Belgiorno-Nettis, Chairman Marah Braye, Chief Executive Officer Brenton Alexander Smith, Ece Altunc, Alana Anne-Claire Joseph, Sylvia Kang, Kamila Skorokhodova, Barnaby Smith, Jasper Smith, Andrew Cameron, Deputy Chair Catherine de Zegher and Gerald McMaster, Artistic Directors, 18th Biennale of Sydney Ambados, Tim Andrew, Callum Andrews, Dan Karagavrilidisova, Samar Karim, Charlotte Baklang Sok, Victoria Solenko, Jeffrey Sprague, Andrews, Robert Aquino, Rachael Archibald, Karp, Brit Katke, Yuki Kawakami, Jasmine Sophie Steains, Alana Stepanovska, Morgan Lucy Turnbull AO, Deputy Chair Gina Hall, Head of Exhibition Patricia Arcilla, Katie Armstrong, Tanya Kean, Courtney Kelly, Adam Kennedy, Katherine Stephens, Greta Stevens, Paula Stewart, Julia Richard Frolich Danielle Earp, Head of Exhibition (to August 2011) Avanus, Cigdem Aydemir, Nicola Balch, Ella Khor, Floura Khosh Kish, Adam Kiernan, Alex Stjepanovic, Lucy Stranger, Sarah Stranger, Danielle Keighery William Cottam, Head of Finance and Administration Barclay, Shadi Berenjie, Georgia Beyer, Claire Kiers, Nury Kim, Sooah Kim, Thuraya Kindy, Barbara Stubbs, Thirza Sumampouw, Michelle Beynon, Tom Bingham, Che Bishop, Sarah Sarah King, Douglas Kippax, Dominic Sutjipto, Rowena Talacko, Grace Tame, Michelle Phillip Keir Ashley de Silva, Head of Marketing and Sponsorship Bishop, Annabel Blackman, Michael Bogle, Kirkwood, Fiamma Kitching, Sophie Kitson, Tan, Mark Tang, Adrienne Tarver, Lena Paris Neilson Virginia Mitchell, Head of Public Program and Education Yelena Bolevich, Stefania Bonacasa, Felicity Andrea Klabanova, Natasha Knopf, Jaroslaw Thomassen, Clementine Thompson, Scarlett Penelope Seidler AM Barbara Moore, Head of Benefaction Booker, David Boon, Glenda Booth, Jonny Booth, Knoppek, Sergej Kolke, Agi Koltai, Amanda Thorby-Lister, Emmy Thorén, Phoebe Tillem, Marston Bowen, Lucy Boyle, Holly Bozier, Kouiroukidis, Natalie Koval, Karen Kuan, Abbie Goran Tomic, Michelle Tomlinson, Vinessa Michael Whitworth Felicity Brading, Lydia Bradshaw, Isabel Brand, Kuenzli, Swanty Kumala, Rachael Lafferty, Huy Trikeirotis, Kelly Truelsen, Alda Truong, Janet boa Meg Gold, Sponsorship Manager Zoe Brand, Michael Branson, Gabriela Brasil, Lam, Ben Lang, Martin Langdon, Amanah Lao, Tse, Barbara Tuckerman, Joanna Ung, Charlie Morgan Randall, Technical and Production Manager Brett Breedon, Georgina Brett, Rhiannon Brolly, Maryanne Large, Lucy Latella, Denise Lau, Utz, Valeria Valera, Kainaaz Variava, Samuel r d and staff Travis Rice, Exhibition and Venue Manager Daniel Brown, Ruby Brown, Beth Browse, Minh Tiffany Lau, Simon Lawrence, Camilla Lawson, Villalobos, Kimberley Visconti, Cassandra Dara Vongsonephet, Marketing Manager Bui, Stephanie Burns, Grace Bushrod, Jennifer Jasmine Le, Thao Le, Philip le Tran, Grace Lee, Vollmer, Rhys Votano, Joanna Vytingco, Byrne, Vicki Byron, Caitlin Cahill, Sophia Cai, Keith Lee, Manisha Lee, Priscilla Lee, Virginia Christina Walkden-Brown, Dean Wall, Laura Lauren Parker, Registrar Dean Calabrese, Elle Cantor, Earnest Lee, Yi Sam Lee, Justine Lesmana, Eric Lewis, Wallace, Kelly Wallwork, Colette Walsh, Capangpangan, Anna-Lina Carlesso, Karen Delia Liang, Ashley Lim, Kay Lim, Nerida Little, Kathryn Walters, Andrew Ward, Monique Rebecca da Silva, Web and New Media Coordinator Carrejo, Marion Cassiat, Prue Castleden, Genesi Shenran Liu, Siyi Liu, Sophie Liu, Madeleine Watkins, Amy Watson, Jon Watts, Lesley

Castro, Virginia Catalan, Danica Catharina, Lloyd, Krysteen Lockwood, Tania Loiseau, Weber, Sarah Weiner, Christine Wells, Guy 65 Todd Fuller, Education, Events and Online Learning Coordinator Lynne Cattell, Claire Cavanna, Felicity Çelik, Katya Lonsdale, Ji-Shen Loong, Margaret Lopez, Weress, Aden Wessels, Blaine Western, Nat 64

Jessica Haly, Public Program and Education Coordinator Donna Cha Zyphenie, Emma Chan, Magna Chan, Sarah Louangsombath, Vanessa Low, Vivian Whelan, Emily Rose White, Isabelle White, s Miriyan Kidson, Venue and Registration Coordinator Rhiana Chan, Anita Chan-Chung, Kathryn Low Tze, Elizabeth Lowe, Carrie Lu, Alex Luu, Jayne Whitford, Kate Wilkie, Bryden Williams, r Chang, Mandy Chang, Cong Chen, Harriet Kimjeng Luy, Tiffany Ma, Peter McCarron, Ella Kate Williams, Sierra Williams, Neil Wilson, Annika Kristensen, Nick Waterlow OAM Curatorial Fellow Cheney, Fiona Cheung, Jean-Christophe McDonald, Catherine McElhone, Sarah McGhee, Rik Wilson, Lia Wittig, Candice Witton, Chi

Emily McDaniel, Aboriginal Emerging Curator Chevalier, Andrew Christie, Amy Chung, Tessa Katherine McGuigan, Francesca McInnes, Emily Wong, Jessie Wong, Leemy Wong, Michele untee

Amelia Ramsden, Grants and Applications Coordinator Chung, Libby Ciok, Lynne Clancy, Janine Clark, McIntyre, Julia Mackay, Chrissie McLaren, Wong, Deborah Woodhouse, Julian Woods, ol Matt Clouston, Nicola Coady, Anna Collett, Brodie McLennan, Eamonn McLoughlin, Anna Kathleen Wootten, Sarah Wulan, Leila Xiong, v Frances Robinson, Volunteer Coordinator Taylor Conacher, Sally Conwell, Paul Cooper, McMahon, Meryl McMaster, Lorna McRae, Amy Xu, Lynn Xu, Nina Xu, Julia Yeh, Yiorgo Romy Sedman, Marketing and Sponsorship Coordinator Jade Cottan, Jasmine Cottan, Alice Coxon, Nicole McTaggart, Farhan Mahmud, Neil Yiannopoulos, William York, Justine Youssef, Jessica Croall, Liam Crowley, Joel Cunningham, Mallard, Ingrid Mann, Janet Mao, Lucy Marks, Yeonyi Yu, Una Yuning, Marietta Zafirakos, Tai Spruyt, Curatorial Research Coordinator and ns

Emanuela Cupac, Erina Czinner, Luisa Dal Melinda Marshman, Stephanie Martin, Hannah India Zegan, Tali Zeloof, Jianwen Zhai, Qiuyue r Meredith Todd, Installation Coordinator Santo, Pankti Dalal, Jayanto Damanik, Masangkay, Jennifer Mason, Helen Matthews, Zhang, Zhiyu Zhang, Jiaqi Zhao, Fan Zhen, Gotaro Uematsu, AV Coordinator Maddison Darcey, Heather Darvey, Arnaud Vera Mattos, Lani Matunga, Barbara May, Rose Mingyue Zhou, Xinger Zhou, Chen Zhuang, Samantha Williams, Exhibition and Venue Coordinator Daupeux, Alethea Deane, Laurence Delécluse, Merigan, Ben Messih, Annette Michalski, Julia Angie Zia Yie Ngie, Cassie Zughbi, Ryan Zughbi, , inte Gail Dendle, Frederique Devaux, Stefano di Milton, Katie Milton, Tahjee Moar, Dom Moffitt, Jess Zurcher w e Neall Kriete, Executive Assistant Lorenzo, James Dickman, Beth Dillon, Claude Maria Mollica, Gina Monaco, Isle Moreno, Helen Dixie Moelan, Micheal Do, Dan Doan, Nick Morgan, Amelia Morgano, Sean Morris, Holly cr Haitian Liu, Bookkeeper Dogao, Elisha Donath, Nina Dorabialski, David Morrison, Geoffrey Moss, Charles Mouyat, Emily Yvonne Abela, Marketing and Sponsorship Assistant Dowavic, Meg Driver, Jenny Du, Qiushi Duan, Mudie, Isabel Muldoon, Carrie Mulford, Annie Lucy Baer, Assistant Venue Coordinator Natali Dundovic, Isobel Dunsworth, Anthony Murney, Laura Naimo, Kaoru Nakamori, Donald Duong, Mathilde Duvinage, Julia Esaulova, Sel Napper, Adriana Navarro, Aliya Nayyar, Alyce Alexandra Bassett, Guest Relations Assistant Espiritu, Alexandra Etienne, Coris Evans, Neal, Naomi Neate, Chelsea Nelson, William Ashley Collis, Administration Assistant Kristy Everett, Georgia Fanning, Rachael Newell, Angie Ngie, Lynn Nguyen, Merena Chelsea Dunsire, Marketing and Sponsorship Assistant Fenimore, Jade Fennell, Marta Ferracin, Ellen Nguyen, Rosa Nguyen, Chanelle Niu, Davina Ferrier, Sabina Finnsaf, Clem Fitzgerald, Jessica Norman, Freia Noss, Jennifer Nossal, Lara Courtney Rogers, Benefaction Assistant Fitzpatrick, Kirsty Flockhart, Viviana Flores, Nurick, Reto Oechslin, Caroline Oey, Amy Leanne Rogers, Assistant Volunteer Coordinator Catherine Flynn, Tiffaeny Foo, Ellen Forbes, Ohlsson, Amanda Olliek, Emma O’Neill, Amy Eleanor Zeichner, Cockatoo Island Office Administrator Wilna Fourie, Melinda France, Vanessa France, O’Rourke, Georgina O’Toole, Sarah Ouyang, Melissa Friend, Madeleine Frith, Alice Fu, Julia Ovtsarenko, Kirsten Packham, Nichola Gerry McLaughlin, Turbine Precinct Project Manager Robyn Gant, Michelle Gasser, Mary Anne Palazzi, Claire Park, Andrew Parrott, George George, Con Gerakaris, Dianne Gerlach, Alexia Parry, Boo Patrick, Kenzee Patterson, Nara Phil McNaughton, Pier 2/3 Project Manager Giacomazzi, Nam Giang, Eleanor Gibson, Skye Peek-Silva, Jingyu Peng, Eleanor Peres, Linley Gibson, Patricia Gilchrist, Tatiana Gimenez, Peters, Ashlee Phillips, Lucy Phillips, Robyn Former Staff Lenny Gitonga, Francess Godworth, Kimberley Pierce, Nicholas Pike, Sally Pittman, Liisa Pobul, The Biennale of Sydney gratefully acknowledges former staff Gordon, Sarah Goss, Paloma Gould, Melissa Graf, Shaun Poustie, Andreas Jaka Pratama, Lea who have contributed to the realisation of the 18th Biennale of Sydney Ryan Graham, Zhoe Granger, Eugenia Greco, Proudman, Madeleine Purdy, Wajdy Qattan, Carl Greenham, Julia Greenstreet, Emily Grieve, Kathy Qin, Ashraf Rahman, Eloise Rankine, Lisa Hayes Jay Griffin, Phillippa Griffin, Mikaela Griffith, Ashlin Raymond, Paul Raymond, Michael Rean, Lydia Grossmann, James Guerrisi, Brenna Tanja ‘Terra’ Reeck, Aurora Retail, Rowland Anthony Hayward Guiney, Shri Gurumurty, Veronica Habib, Susan Reyes Martinez, Alison Rhodes, Eliane Ribeiro, Lena Peacock Hahn, Tegan Hale, Damon Hannon, Hilary Joshua Richards, Charlotte Richardson, Hannah Tehmi Sukhla Hanrahan, Sarah Hansen, Matthew Hanson, Riley, Chrystal Rimmer, David Robertson, Sophie Hardcastle, Hueyna Hariputra, Deborah Annie Robinson, Gemma Robinson, Hayley Harkham, Joshua Harrex, Sophie Harris, Clare Robinson, Jenny Robinson, Laura Robinson, Harvey, Toby Harvey, Ilana Heller, Justin Phil Robinson, Jessica Romstein, David Round, Henderson, Luke Henderson, Yolunda Hickman, Asha Rowe, Stewart Rushbrook, Timothy Saad, Laura Hindes, Alicia Hinds, Jasmine Ho, Adam Natalia Sabinesh (Jayanand), Carly Salkavich, Hoh, Justine Holt, Hana Hoogedeure, Clare Miranda Samuels, Diego Sanchez, Kristen Hooper, Michelle Hornitzky, Jennifer Hou, Dane Sanderson, Veena Saraiya, Emma Saunders, Howlett, Yujen Hu, Annie Huang, Christina Sabine Scholz, Ebony Secombe, Mark Huang, Cathy Huggett, Craig Hull, Lesley Hume, Seemanpillai, Maria Seibert, Anita Senaratna, Jill Hung, Elizabeth Hupka, Sophie Hutchinson, Viviana Sepulveda Flores, Rosemary Sewell, Lin Jasmine Ing, Louise Irving, Patrick Issa, Lucy Sha, Yupeng Sha, Deborah Shadbolt, Penny Jackson, Jenny James, Ashley Jarvis, Chrissie Sheehan, Victoria Shehadie, Kate Sheldon, Jenkins, Martin Jenkins, Michael Jenkins, Xiaoran Shi, Anastasia Shibaeva, Allen Shun,

67 T R SUPPO T C E J O R P AND S R TE R SUPPO FOUNDING PARTNER SINCE 1973 MAJOR EVENT PARTNER AIRLINE PARTNERS ACCOMMODATION PARTNER stralia Council, u A dney is assisted by the y S NEILSON NEILSON FOUNDATION i B its arts funding and advisory body. h T e ennale of stralian Government through the u A DONORS PUBLIC PROGRAM SUPPORTERS PROGRAM PUBLIC MAJOR PARTNERS PRESENTING PARTNER PRESENTING ts r A stralian, u A rritory Governments. e T dney is supported by the Visual y S FREE FERRY PARTNER rategy, an initiative of the t ate and S t S

i B and Craft h T e ennale of FAMILY FOUNDATION ANDREW CAMERON ANDREW

W NS SUPPORTERS overnment heme. W G c S NS nd gratefully acknowledges W a emnification NS dney is supported by the nd ts I y r S A hibition x E i B h T e ennale of the assistance provided through the Government through ANONYMOUS PARTNERS MAJOR PARTNERS MAJOR VENUE PARTNERS MAJOR GOVERNMENT PARTNERS MAJOR DESIGN PARTNER PUBLIC PROGRAM PARTNERS MSS Security Fund, Cultural Agency Thanks: Copyright Special CONTRIBUTORS MAJOR FOUNDATIONS Supporters and Project Support

SUPPORTERS AND PROJECT SUPPORT 66 Supporters and Project Support Cultural Funding

The Biennale of Sydney gratefully acknowledges the generous support of the many The Biennale of Sydney is pleased to acknowledge the generous support of the following participating organisations and individuals that make the exhibition and its programs possible. governments and organisations, which have assisted in the presentation of the exhibition. SUPPO

R Australia TE Founding Governor Associates Project Contributors

R Franco Belgiorno-Nettis AEC CB Dirty Films ART50 Trust S

AND Ginny and Leslie Green Chartwell Trust Governors Robyn and Mitchel Martin-Weber James Cohan Gallery

P Amina Belgiorno-Nettis The 18th Biennale of Sydney has received financial T he 18th Biennale of Sydney is supported by the T he 18th Biennale of Sydney is supported by the Commonwealth R Elizabeth Ramsden Galleria Continua assistance from the Queensland Government through Commonwealth through the Australia–China Council through the Australia–Thailand Institute of the Department

O Luca and Anita Belgiorno-Nettis the Queensland Indigenous Arts Marketing and of the Department of Foreign Affairs and Trade. of Foreign Affairs and Trade. Export Agency (QIAMEA), Arts Queensland. J Westfield Group Gordon Darling Foundation E Andrew and Cathy Cameron C DETACHED, Hobart T

Neilson Foundation Benefactors SUPPO Paul and Saadia Durham Australia Belgium Canada Susan Acret and James Roth Ambassadors Galería Elba Benítez Claire Armstrong and John Sharpe

R Geoff Ainsworth AM Susan and Michael Harte

T Martin Browne and Alexander Gasko

Rick and Jan Frolich Julian and Lizanne Knights 69 Chartwell Trust

68 Amanda and Andrew Love Marian Goodman Gallery, The 18th Biennale of Sydney is supported by the Australian T he 18th Biennale of Sydney is supported by the Australian Paul and Vicki Clitheroe Government through the Australia–Korea Foundation

Government through the Council for Australian–Arab g Roslyn and Tony Oxley New York and Paris of the Department of Foreign Affairs and Trade. Judy and Robin Crawford Relations (CAAR). Penelope Seidler AM PIFO Gallery Ari and Lisa Droga Turnbull Foundation SCANLAN&THEODORE Helen Eager and Christopher Hodges Ivan and Karel Wheen Gene and Brian Sherman Jim and Lynda Eager Canada Czech Republic al fundin

Michael Whitworth and Galeria Luisa Strina r Ross and Jill Gavin Dr Candice Bruce Irene Sutton, Sutton Gallery GRANTPIRRIE | Private ultu

Project Patrons Giovanna Gromo and Ian Cavit c

T he 18th Biennale of Sydney is made possible in part Anonymous Julian and Stephanie Grose by a grant from the Ontario Arts Council’s National and International Touring Program. The Balnaves Foundation Stephanie and Ian Hardy Anita Luca Belgiorno-Nettis Foundation Amanda Harkness Andrew Cameron Family Foundation Simon and Jane Hayman Finland France Germany Greece The Hansen Family Dr Ian Hill and Morna Seres

The Keir Foundation Debra Jensen and Geoff Cohen FRAME Amanda Love David and Angela Kent Visual Arts Finland Simon and Catriona Mordant Julian and Lizanne Knights Neilson Foundation Dr Colin and Penelope Seidler AM Mrs Elizabeth Laverty India Ireland Japan Korea Malcolm and Lucy Turnbull Walter and Elizabeth Lewin LSH Charitable Foundation

Mark and Louise Nelson

Dr Clinton Ng T he 18th Biennale of Sydney is supported by Lisa and Egil Paulsen the Indian Council for Cultural Relations. Dr Dick Quan and John McGrath Sherman Foundation Dr Michael Welch The Netherlands New Zealand Spain Sweden Switzerland Ray Wilson OAM and James Agapitos OAM

Taiwan Thailand United Kingdom USA Uruguay Artists in the 18th Biennale of Sydney wish to thank the following organisations and individuals, who have also supported their projects: SUPPO R

TE Adam Mickiewicz Institute Ministry of External Relations of Brazil

R After-A-Fashion Mosman Art Gallery, a cultural facility of Mosman Council S

AND AIR Antwerpen Museum of Contemporary Native Arts Arizona State University Art Museum National Art School

P

R Arizona State University, Herberger National Museum of the American Indian, Smithsonian Institution O

J Institute for Design and the Arts Newington College E

C Australia Council for the Arts NSW Government through Arts NSW T

SUPPO Kriselle Baker and Richard Douglas Ontario Arts Council Beursschouwburg Open Society Institute Budapest, Art and Culture Network Program

R The Bijou Collection Parramatta Artist Studios, an initiative of Parramatta City Council T

Jane and Mike Browne The Partridge Group, Sydney 71

70 Campbelltown Arts Centre Presbyterian Ladies’ College, Sydney Canada Council for the Arts Random Art Group Centre du Cinéma de la Fédération Wallonie – Bruxelles David and Lisa Roberton YOU K China Arts Projects School of Architecture and Design, City of Sydney Libraries and the Design Research Institute, RMIT University THAN Consulate of the Czech Republic in Sydney School of Design, University of Technology, Sydney Sarah and Warren Couillault Sherman Contemporary Art Foundation Creative New Zealand Social Sciences and Humanities Research Council of Canada Sue Crockford Gallery STEVENSON, Johannesburg Kate Darrow Sydney College of the Arts, The University of Sydney Dean Endowment Trust Talwar Gallery Elam School of Fine Arts, The University of Auckland Toronto Arts Council Embassy of the Czech Republic in Australia Transat Video Alison Ewing Miriam van Wezel and Pete Bossley Jo Ferrier and Roger Wall Vlaamse Gemeenschapscommissie Flanders Audiovisual Fund Vooruit Dame Jenny Gibbs White Rabbit Hannanprint WXY Studio Hazelhurst Regional Gallery and Arts Centre, Canadian Friends of the 18th Biennale of Sydney a facility of Sutherland Shire Council Barry Appleton Caffe L’affare Sara Diamond McAsh Oysters Yvonne and David Fleck with Macquarie Canada Keitha and Connel McLaren Pierre-François Ouellette Peter McLeavey The Herb and Cece Schreiber Family Foundation Michigan Films Milani Gallery

Opposite Li Hongbo Ocean of Flowers, 2012 Installation view of the 18th Biennale of Sydney (2012) on Cockatoo Island Courtesy the artist Project team: Kao Yunqi, Shi Ningfang and Duan Chaoping This project was supported by White Rabbit Gallery through its artist-in-residence program

Photo credits Felicity Celik: 41 (top); Ben Geraerts: 14; Sebastian Kriete: front cover, inside front Copyright © 2012 Biennale of Sydney Ltd cover, 5, 6–7, 8 (top, bottom), 10 (top), 15 (bottom right), 18–19, 21 (top, bottom right), Copyright of all images is held by the individual artists. 22 (bottom), 23 (top right, centre right), 25 (top, bottom), 26–27, 28, 29 (top), 30 (top All rights reserved. left, top right, centre), 31 (top, bottom right), 32 (bottom), 33 (top, centre, bottom), 38, 45 (bottom left), 46 (right), 47, 48, 52 (left, right), 53, 54–55, 59 (top, bottom), No part of this publication may be reproduced or transmitted in any form or by 60, inside back cover; Catherine McElhone: 44, 45 (top, bottom right); any means, electronic or mechanical, including photocopy, recording or any other Mark Ritchie, courtesy Centro Gallego de Arte Contemporáneo, Santiago de information storage or retrieval system, without prior permission in writing from the Compostela: 17 (bottom left); Justin Russell: 57 (top); Tai Spruyt: 24, 32 (top), 37; publisher. Every attempt has been made to contact copyright holders of the extracts Ben Symons: 9, 12–13, 15 (top), 16 (top right, bottom), 17 (top, bottom right), 22 (top), and images reproduced in this publication. 23 (top left, centre right, bottom right); Prudence Upton/Destination NSW: 11 (top, bottom), 30 (bottom right), 31 (bottom left), 36 (right), 43, 50, 51; Anne Van Aerschot: 34; Design COLLIDER David Wade: 4; Gary Warner: 22 (bottom); Susannah Wimberley: 35, 57 (bottom), 58

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