16Th Biennale of Sydney Report

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Biennale of Sydney www. B iennaleof S 16 Biennale of Sydney RepoRt

17th Biennale of Sydney ydney.co M .au 16th Biennale of Sydney 12 May – 1 auguSt 2010 www.biennaleofsydney.com.au17th Biennale of Sydney RepoRt 12 May – 1 auguSt 2010 www.biennaleofsydney.com.au 2008 PARTNERS

GOVERNMENT PARTNERS

The Biennale of Sydney is supported by the Visual The Biennale of Sydney is assisted by the Australian Government The Biennale of Sydney is assisted by the NSW Government through Arts and Craft Strategy, an initiative of the Australian, through the Australia Council, its arts funding and advisory body. Arts NSW. We gratefully acknowledge the assistance of Arts NSW state and territory governments. through the NSW Government Exhibitions Indemni cation Scheme.

FOUNDING PARTNER MAJOR VENUE PARTNERS EXHIBITION PARTNERS SINCE 1973

MAJOR PARTNERS ACCOMMODATION NEWSPAPER PARTNER PARTNER

DIGITAL MEDIA PARTNER PARTNERS SUPPORTERS ARTS MEDIA PARTNER

PUBLIC PROGRAM PARTNERS DONORS

PUBLIC PROGRAM AND EDUCATION SUPPORTERS

ARTISTS’ PARTY SUPPORTERS

2 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 2008 PARTNERS

GOVERNMENT PARTNERS

FOUNDING PARTNER MAJOR VENUE PARTNERS EXHIBITION PARTNERS SINCE 1973

MAJOR PARTNERS ACCOMMODATION NEWSPAPER PARTNER PARTNER

DIGITAL MEDIA PARTNER PARTNERS SUPPORTERS ARTS MEDIA PARTNER

PUBLIC PROGRAM PARTNERS DONORS

PUBLIC PROGRAM AND EDUCATION SUPPORTERS

ARTISTS’ PARTY SUPPORTERS

2 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT CONTENTS

Highlights 4 We would like to extend Messages of Support 10 Chairman’s Message 11 special thanks to the CEO’s Report 12 directors and staff at Artistic Director’s Report 13 Cockatoo Island 14 all the venues for their Museum of Contemporary Art 20 Art Gallery of New South Wales 24 generosity, dedication and Pier 2/3 28 Online Venue 29 commitment. We would Sydney Opera House 30 Artspace 32 also like to thank all venue Royal Botanic Gardens 33 Elsewhere in the City 33 and Biennale volunteers for Logistics 33 Opening Week 34 their tireless contribution Events and Programs 38 Publications and Resources 42 and enthusiasm. Attendance and Audience Research 44 Media 46 Marketing Campaign 48 Partners 50 Revenue and Expenditure 53 Artists 54 Comrades and Guests 55 Board and Staff 56 Crew, Interns and Volunteers 57 Supporters 58 Cultural Funding 59

Cover Image: Pierre Huyghe A Forest of Lines, 2008 Installation view of the 16th Biennale of Sydney in the Concert Hall of the Sydney Opera House Courtesy the artist and Marian Goodman Gallery, New York and Paris Made possible through the generous support of The Ellipse Foundation – Contemporary Art Collection, Portugal and Marian Goodman Gallery, New York and Paris. Presented by the Biennale of Sydney (2008) in association with the Sydney Opera House. A Forest of Lines was produced with assistance from CULTURESFRANCE, the Embassy of France in Australia, Lumens Arte, Rent-A-Garden (Terrey Hills) and the Technical Direction Company of Australia (TDC).

Opposite: Dan Perjovschi The Sydney Drawing, 2008 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist and Lombard-Freid Projects, New York

2 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT CONTENTS

Opposite: Dan Perjovschi The Sydney Drawing, 2008 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist and Lombard-Freid Projects, New York

2 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT HIGHLIGHTS

‘This year’s exhibition − Record visitation – 436,150 visits (a 38 per − Pierre Huyghe transformed the Sydney − Engaging, inclusive and well-attended cent increase on 2006) with 38 per cent of Opera House Concert Hall into a magical Opening Week of 74 events catered to and its many associated visitors from interstate or overseas.* forest for 24 hours. all audiences, from general public to arts professionals. events exceeded the − 175 artists from 42 countries (69 travelled − Pier 2/3 was the venue for Janet Cardiff to Sydney). & George Bures Miller’s most ambitious − Enhanced website, utilising Web 2.0 and high expectations of installation to date – an enveloping social networking, engaged more than − 294 works, including 86 new works, 203 100-speaker sound installation. 163,000 unique visitors.** the Biennale of Sydney historic and existing works and 5 revised works. − Leading contemporary artist William − A broad-reaching marketing campaign as Australia’s premier Kentridge premiered his new work on with visible branding spread across − More than 86,000 visitors saw 39 projects Cockatoo Island. the city. contemporary visual at a major new venue, Cockatoo Island – an astonishing former prison and − Biennale targeted education with new − Media coverage increased by 57 per cent arts event.’ shipyard and the largest island in Sydney publications and events for schools and from 2006. Harbour. 91 per cent of visitors took children. Kathy Keele, Chief Executive Ofﬁcer, * 2008 Biennale of Sydney audience research, refer to page 44 for advantage of the free ferry service. Australia Council for the Arts further details − Free 104-page, full-colour exhibition ** As at 10 October 2008 − World-ﬁrst online venue for a biennale guide provided an invaluable tool for displayed interactive works, live streaming visitors to navigate the exhibition and and video projects. events.

Opposite: The Artists’ and Supporters’ Party in the Turbine Hall at Cockatoo Island

This page: Christoph Büchel No Future, 2008 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Courtesy the artist and Hauser & Wirth Zurich, London with the support of MONA, Museum of Old and New Art, Tasmania. Musical equipment supplied by Drum City, Willoughby

4 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 5 HIGHLIGHTS

Opposite: The Artists’ and Supporters’ Party in the Turbine Hall at Cockatoo Island

4 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 5 ‘There is a cohesive sense in Carolyn Christov-Bakargiev’s curation of the desire to experience the relationship between things – how works run up against each other, infect each other with new meaning … It is most strongly manifest in the way works resonate with their sites – how they are part of their surrounding – in the real world.’

Gail Priest, Real Time

Nalini Malani ‘The tables have turned’ A shadow play, 2008 Installation view of the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist and Bodhi Art, Mumbai This project was made possible with assistance from Bodhi Art, Mumbai

6 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 7 ‘There is a cohesive sense in Carolyn Christov-Bakargiev’s curation of the desire to experience the relationship between things – how works run up against each other, infect each other with new meaning … It is most strongly manifest in the way works resonate with their sites – how they are part of their surrounding – in the real world.’

Gail Priest, Real Time

6 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 7 ‘Hands down, Kentridge provides the smartest, most insightful, most brilliantly staged works in the Biennale …’

Nick Dent, Time Out

William Kentridge I am not me, the horse is not mine, 2008 Lecture/performance for the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist; Marian Goodman Gallery, New York and Paris; Goodman Gallery, Johannesburg; and Annandale Galleries, Sydney This project was made possible through the generous support of John Kaldor AM and Naomi Milgrom Kaldor

8 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 9 ‘Hands down, Kentridge provides the smartest, most insightful, most brilliantly staged works in the Biennale …’

Nick Dent, Time Out

8 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 9 MESSAGES OF SUPPORT CHAIRMAN’S MESSAGE

The Hon Peter Garrett AM MP The Hon Nathan Rees MP Clover Moore MP The 2008 Biennale of Sydney will go down Thanks to the special relationship that MINISTER FOR THE ENVIRONMENT, PREMIER AND MINISTER FOR THE ARTS, LORD MAYOR OF SYDNEY ‘Each Biennale is in history as a remarkable Biennale. Carolyn Christov-Bakargiev helped forge HERITAGE AND THE ARTS NEW SOUTH WALES remarkable, but 2008 Each Biennale is remarkable, but 2008 between artists, gallerists and collectors, this The Biennale of Sydney is one of the largest The New South Wales Government is proud In keeping with the strong reputation which is unique because it was the first time we Biennale has benefited from a wealth of new and most expansive contemporary visual arts to have played a significant role in bringing the Biennale of Sydney has developed over is unique because it exhibited on Cockatoo Island. Visitors had work which will stand as a testament. At events in Australia. the Biennale of Sydney to the people of its 35-year history, Revolutions – Forms That never seen such a venue – not since René the same time, by bringing together many Sometimes outrageous, always provocative, New South Wales and the world. Turn succeeded in stimulating audiences with was the first time we Block’s 1990 Biennale in the Bond Stores groundbreaking twentieth-century works, this event brings together the best and the With a record 436,150 visits, the 2008 new ideas and the evolving nature of the at Walsh Bay. Our Artistic Director, Carolyn Carolyn Christov-Bakargiev provided the boldest of contemporary visual art from event was the best attended exhibition since contemporary visual arts. exhibited on Cockatoo Christov-Bakargiev, made the courageous context for intriguing historical perspectives Australia and around the world. Side by side, the Biennale of Sydney was first established I am glad that the Biennale has continued decision to venture out and, with that, the on current creative endeavours. The established and emerging artists present in 1973. It has built on the 35-year legacy to extend the idea of accessibility via the Lord Island.’ Board and staff got behind her to make curatorial framework was consequently some of the most groundbreaking visual art and proved its continued relevance to Mayor’s Day, where access for people with the island a reality. The Sydney Harbour both respectful and refreshing. The Public ever seen. audiences today. disabilities was provided through a range of Federation Trust must also be applauded for Program highlighted the originality of Over the three months of the exhibition The 16th Biennale of Sydney gave tours and multi-sensory experiences. their generous contribution. seminal figures (such as Michael Snow, Dan more than 436,000 people attended displays, audiences the chance to experience the I congratulate the Biennale on their As far as the overall exhibition was Graham and Emory Douglas) who spoke of workshops and performances, and for the wonders of Sydney Harbour’s Cockatoo marvellous audience and critical outcomes. concerned, the attendance figures confirmed their work alongside younger artists. first time the magnificent and historic Island via a free ferry service. Exploring the The significant increase in audiences record breaking patronage – over 436,000 In conclusion, as always, the exhibition Cockatoo Island was used as a public venue – works displayed on this extraordinary urban demonstrates the high level of interest visits across all the venues, including more would not be the same without our sponsors drawing more than 86,000 visits. park was a highlight for many. The premiere in contemporary art in Sydney, as well as than 86,000 at Cockatoo Island. At the time and patrons, both private and corporate, who The 16th Biennale received support from of the online venue in 2008 – the first for a the hard work and thoughtful curatorial of going to print, the Biennale at Cockatoo enable us to mount an exhibition of the scale the Australia Council and the Australian biennale worldwide – captivated and engaged and venue selection. In particular, it was Island has been awarded by popular vote needed to make an impact. Credit must also Government through the Visual Arts and a new online biennale community. a real pleasure to see the transformation a FBi Radio and Time Out Sydney, Music, go to our Ambassadors and Benefactors, Craft Strategy, an initiative of the Australian, This year’s edition featured 175 artists of Cockatoo Island into such a beautiful Arts and Culture (SMAC) Award for the most foreign government agencies and especially State and Territory Governments. from 42 countries, making it a truly contemporary arts venue. I was also pleased innovative use of the city. the New South Wales and Australian The Australian Government is proud to international event. Importantly, it also that the windows of City of Sydney Council Each visitor might well have had a Governments, and the City of Sydney. support the Biennale of Sydney and has included more works by Australian artists buildings were used to display artworks by preferred venue and/or artist, but the provided funding since the inception of the than any previous Biennale, highlighting our Yoko Ono. Even the venues were ‘forms that strength of the show, I think, was in its Luca Belgiorno-Nettis Australia Council in 1975. Over the last 20 own homegrown talent. had been turned’, showing integrity between diversity. Exhibited over eight venues were CHAIRMAN years, during which time ten Biennales have Artistic Director, Carolyn Christov- this year’s theme and its presentation that 175 artists, of whom more than 86 created been staged, Australian Government support Bakargiev and the Biennale Board and staff highlights the thoughtfulness with which original works, including: for this premier exhibition has continued to must be praised for realising such a vision. each biennale is prepared. − William Kentridge: I am not me, the horse grow, reflecting the importance and calibre I congratulate the Biennale of Sydney for The City of Sydney is proud to be is not mine – Cockatoo Island of the event. this year’s event and hope that this success is associated with the Biennale and to − Pierre Huyghe: A Forest of Lines – Sydney I congratulate Artistic Director, Carolyn repeated in future biennales. recognise it as one of the major festivals in Opera House Christov-Bakargiev, and everyone at the Sydney’s calendar of events. I look forward to − Janet Cardiff & George Bures Miller: The 16th Biennale of Sydney for making its continued success. Murder of Crows – Pier 2/3 Revolutions – Forms that Turn such an − Ross Gibson: Conversations II – Art Gallery artistic and visual feast. of New South Wales − Tracey Moffatt and Gary Hillberg: REVOLUTION – Museum of Contemporary Art

10 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 11 MESSAGES OF SUPPORT CHAIRMAN’S MESSAGE

10 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 11 CEO’S REPORT ARTISTIC DIRECTOR’S REPORT

‘One of the most important aspects of having a biennale is related to cultural exchange and dialogue …’

As we celebrate the 35th anniversary of the supporters – and meeting the challenge of Revolutions – Forms That Turn articulated the primary focus on the contemporary: going ‘Sydney is fortunate to Biennale of Sydney, I am proud to report making art accessible to the broadest possible agency embedded in forms that express our backwards to go forwards, re-spatialising, that the 16th edition of this internationally audience. desire for change, the impulse to revolt and re-topologising and re-semanticising words host one of the oldest, renowned festival of contemporary art has Access – both conceptual and practical to radically alter perspectives. The exhibition and their related ideas – in a cyclical and most celebrated and been one of the most successful since its – is a hallmark of the Biennale of Sydney, was a constellation of historical and ecological view of revolution that involved inception in 1973. whose exhibition and public programs are contemporary works of art that celebrated repetition, re-actualisation and re-enactment. respected biennale In providing an overview of this ambitious presented free, thanks to grants from three and explored these dynamics, both in art The use of historic sites such as Pier 2/3, exhibition and program, the highlights, facts levels of the Australian government (federal, and life, through installations, performances, Walsh Bay and the magnificent sites of exhibitions in the and figures presented in this report evidence state and city), as well as foreign government films, texts, an evolving online venue, industrial archaeology on Cockatoo Island the ever-growing stature and broad appeal of partners and cultural funding organisations. conversations and other events. also formed part of this movement between world.’ the exhibition on its home ground. Additionally, the Biennale of Sydney benefits One of the most important aspects of old and new and inverted Sydney’s iconic Sydney is fortunate to host one of the from the contributions and advocacy of a having a biennale is related to cultural view – to look back at the city from the oldest, most celebrated and respected network of generous sponsors, benefactors exchange and dialogue: bringing artists and harbour. biennale exhibitions in the world. While on and supporters, who make all the difference culture from around the world to a place and By changing perspectives – revolving, one hand – alongside the Venice and São and whom we thank here. connecting the culture of that place to the rotating, mirroring, repeating, reversing, Paolo biennales and Documenta – it is one We also wish to thank and acknowledge dialogue going on in the rest of the world. turning upside down or inside out – we of the longest running exhibitions of its the unswerving support and generosity of the The 16th Biennale of Sydney developed from opened up possibilities for imagination and kind, it also heralded the new generation directors and staff of our major and special my interests in reconnecting the artistic also for emancipation through art. of biennale exhibitions that have emerged venue partners: the Art Gallery of New South practice of today with the avant-garde work I have immensely enjoyed working on the in the past ten years. This pivotal position Wales, the Museum of Contemporary Art, of earlier artists, as well as from a dialogue 2008 Biennale of Sydney. The audience was affords the Biennale of Sydney the privilege Artspace, the Sydney Opera House and the with artists and younger curators, writers and engaged and numerous, with people of all and confidence lent by experience to explore Royal Botanic Gardens – as well as NSW thinkers. In this fashion, it was a space for ages and backgrounds participating in and varying terrains and break new ground in Maritime and the Sydney Harbour Foreshore exchange of ideas, thoughts, political views enjoying the art – art that seduces, moves each edition. Authority for providing access to Pier 2/3 and and aesthetic positions, with the underlying you, challenges how you think and lead your With seven remarkable venues clustered the Sydney Harbour Federation Trust premise that all revolutions begin with life. Thank you for entrusting me with your around the harbour (keeping the Biennale for their remarkable collaboration on individuals and that all formal and sensorial attention and your focus and for engaging easily accessible by foot and water), one of Cockatoo Island. aspects of artworks have an embedded with the myriad wonderful works of art we the most considerable achievements was The Biennale of Sydney is an organisation critical impulse. Working with ‘comrades’ and had the privilege to host here in Sydney. the presentation of 39 projects on Cockatoo of long-term relationships and what it has artists developed a dialogue between a vast Finally, many thanks to the Biennale Island. Perhaps equally remarkable was the consistently provided its Sydney and number of minds. of Sydney team for helping me deliver a provision of a free ferry service (supported (inter)national audiences, it offers to its Rather than a single list of artists, the wonderful event and to the artists whose by The Balnaves Foundation and the Sydney loyal supporters – inspirational and visionary event was an organic system where people vision and dedication lies at the base of such Harbour Federation Trust), which transported contemporary art. We are overjoyed by both appeared and disappeared, participating in an endeavour. the majority of the 86,000 visitors who the critical and public response to the 16th very physical and visible ways or participating travelled to the island during the three- Biennale of Sydney. It is a great reward in less visible and oblique ways – from major Carolyn Christov-Bakargiev month exhibition. for the exhibition to touch the hearts and new projects to one-off screenings of works ARTISTIC DIRECTOR The above encapsulates much of what is minds of the general public and informed and performances during the event, to artists 2008 BIENNALE OF SYDNEY exceptional about the Biennale of Sydney: the connoisseurs alike. making works for the online venue or to presentation of a memorable exhibition in contributing new drawings to the an inspiring new venue – through brokering Marah Braye 2008 Biennale of Sydney catalogue. new partnerships between the Biennale, CHIEF EXECUTIVE OFFICER The seven physical exhibition spaces government organisations and private included works from c. 1837 to 2008 with a

12 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 13 CEO’S REPORT ARTISTIC DIRECTOR’S REPORT

‘One of the most important aspects of having a biennale is related to cultural exchange and dialogue …’

12 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 13 16TH BIENNALE OF SYDNEY COCKATOO ISLAND 18 JUNE – 7 SEPTEMBER 2008

The Biennale of Sydney engages Australian and international audiences with bold and innovative contemporary art from around the world, challenges the status quo, promotes cultural exchange and inspires audiences to experience art, themselves and their world in new and creative ways.

The Biennale of Sydney is committed to developing audiences for contemporary art, increasing understanding and appreciation of the important role art plays in society, increasing dialogue and mutual understanding and fostering international cultural exchange.

Our charter is to offer encounters with art and artists and to provide Cockatoo Island is Australia’s most unusual highlights, attracting great interest and amalgam of mountain bicycles transformed Above: Visitors arriving at Cockatoo Island fresh curatorial perspectives and urban park – a heritage-listed island in acclaim. Paul Pfeiffer’s Vitruvian Figure by small speakers on their tubular frames, the middle of beautiful Sydney Harbour. was an 8-metre-diameter model of a giant formed a symphonic soundtrack to his new independent artistic vision, as A former prison and shipyard, Cockatoo stadium designed to seat an audience of video projection. Gerard Byrne premiered Island retains many remnants of its past. one million – the result of his two-year his new work, An exercise with questions well as to produce programs and Spanning the breadth of the island – from collaboration with Bligh Voller Nield and answers – an enigmatic film of actors publications that underpin the the Turbine Hall to the prison, from the Architecture who designed Sydney’s olympic re-enacting transcripts from interviews sailors’ quarters to small domestic houses – (ANZ) stadium. Mike Parr’s confronting with war criminals. New works were also exhibition. We also offer artists in 2008, for the first time, Cockatoo Island new installation, MIRROR/ARSE, drawing created by aiPotu, Micol Assaël, Richard Bell, was used to present an expansive exhibition together 17 videos from the artist’s past Lene Berg, Mark Boulos, Chen Xiaoyun, the opportunity to make new work where 30 buildings exhibited 39 projects. performances, received both praise and Jannis Kounellis, Nalini Malani, TV Moore, New works by 20 artists were premiered in infamy for its challenging atmosphere. Natascha Sadr Haghighian, Emily Sundblad in Sydney and to reach a broader industrial spaces, including exciting film Vernon Ah Kee’s What Is An Aborigine and theweathergroup_U. projects, large-scale sculptures and complex displayed 12 large-scale portraits across These projects were complemented audience. installations – creating an exciting day out the stone walls of Cockatoo’s convict-built by existing and historic works by Jerry for 86,843 visitors. Of these visitors, 91 per architecture. Brian Jungen’s brightly coloured Abrams, Paul Chan, Jeremy Deller, Emory cent took advantage of the free ferry service creatures, modelled from dismantled plastic Douglas, Harun Farocki and Andrei Ujica, made possible by The Balnaves Foundation suitcases, depicted Australian animals and Lara Favaretto, Jin Kurashige, Anna Maria and the Sydney Harbour Federation Trust delighted visitors of all ages. Pedro Barateiro Maiolino, Bruce Nauman, Cornelia Parker, and provided by Rosman Ferries. created 82 new videos: one for each day of Susan Philipsz, Qiu Anxiong, Javier Téllez, William Kentridge’s new installation and the exhibition. Clemens von Wedemeyer and Peter Watkins. performance/lecture were much anticipated Shaun Gladwell’s Ghost Rider, a sculptural

14 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 15 16TH BIENNALE OF SYDNEY COCKATOO ISLAND 18 JUNE – 7 SEPTEMBER 2008

14 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 15 Clockwise (from top left) Pedro Barateiro Micol Assaël Eighty-Two Poems, 2008 Electrical diagrams, 2008 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney at Cockatoo Island at Cockatoo Island Courtesy the artist and Galeria Pedro Cera, Lisbon Courtesy the artist and Galleria Zero, Milan This project was made possible with assistance This project was made possible with the generous from the Ministério da Cultura, Instituto de Arte support of Viglietta Matteo Spa Contemporânea; Calouste Gulbenkian Foundation; and the Luso-American Development Foundation Brian Jungen Crux (as seen from those who sleep on the surface Mike Parr of the earth under the night sky), 2008 MIRROR/ARSE, 1971–2008 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney at Cockatoo Island at Cockatoo Island Courtesy the artist and Catriona Je ries Gallery, Courtesy the artist and Anna Schwartz Gallery: Vancouver Sydney and Melbourne With the assistance of The Canada Council for the Arts Opposite: Paul Pfei er Vitruvian Figure, 2008 Installation views of the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist and The Project, New York This project was made possible with the generous support of The Project, New York and additional support from Bligh Voller Nield Architecture, Sydney and Salon 94, New York

‘After a day of soul searching aided by Biennale artists, the sunset over Sydney’s stunning harbour, from the shores of Cockatoo Island is truly an experience not to be missed.’

Shivangi Ambani-Gandhi, Indian Link

16 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 17 Clockwise (from top left) Pedro Barateiro Micol Assaël Eighty-Two Poems, 2008 Electrical diagrams, 2008 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney at Cockatoo Island at Cockatoo Island Courtesy the artist and Galeria Pedro Cera, Lisbon Courtesy the artist and Galleria Zero, Milan This project was made possible with assistance This project was made possible with the generous from the Ministério da Cultura, Instituto de Arte support of Viglietta Matteo Spa Contemporânea; Calouste Gulbenkian Foundation; and the Luso-American Development Foundation Brian Jungen Crux (as seen from those who sleep on the surface Mike Parr of the earth under the night sky), 2008 MIRROR/ARSE, 1971–2008 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney at Cockatoo Island at Cockatoo Island Courtesy the artist and Catriona Je ries Gallery, Courtesy the artist and Anna Schwartz Gallery: Vancouver Sydney and Melbourne With the assistance of The Canada Council for the Arts Opposite: Paul Pfei er Vitruvian Figure, 2008 Installation views of the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist and The Project, New York This project was made possible with the generous support of The Project, New York and additional support from Bligh Voller Nield Architecture, Sydney and Salon 94, New York

‘After a day of soul searching aided by Biennale artists, the sunset over Sydney’s stunning harbour, from the shores of Cockatoo Island is truly an experience not to be missed.’

Shivangi Ambani-Gandhi, Indian Link

16 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 17 ‘it ranks … as [one of ] the most stimulating exhibitions of international art seen in Australia in the past decade … a profoundly memorable and inspiring one.’

Daniel Palmer, Art World (UK)

Opposite: William Kentridge Shaun Gladwell What Will Come (Has Already Come), 2007 STREET HAUNTING/GHOST RIDING/ORGAN, 2008 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney at Cockatoo Island at Cockatoo Island Courtesy the artist; Marian Goodman Gallery, New Videography: Gotaro Uematsu York and Paris; Goodman Gallery, Johannesburg; Post-production: Josh Raymond and Annandale Galleries, Sydney This project was assisted by the Sherman Contemporary Art Foundation Clockwise (from top left) Courtesy the artist and Anna Schwartz Gallery: Mark Boulos Sydney and Melbourne All That is Solid Melts into Air, 2008 Installation view of the 16th Biennale of Sydney Jannis Kounellis at Cockatoo Island Senza titolo (Progetto Sidney) [Untitled (Project for Courtesy the artist Sydney)], 2008 Funded by Arts Council England, London, with Installation view of the 16th Biennale of Sydney the support of Film London Artists’ Moving Image at Cockatoo Island Network Courtesy the artist

Vernon Ah Kee What Is An Aborigine, 2008 Installation view of the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist and Milani Gallery, Brisbane

2008 BIENNALE OF SYDNEY REPORT 19 ‘it ranks … as [one of ] the most stimulating exhibitions of international art seen in Australia in the past decade … a profoundly memorable and inspiring one.’

Daniel Palmer, Art World (UK)

Vernon Ah Kee What Is An Aborigine, 2008 Installation view of the 16th Biennale of Sydney at Cockatoo Island Courtesy the artist and Milani Gallery, Brisbane

2008 BIENNALE OF SYDNEY REPORT 19 MUSEUM OF CONTEMPORARY ART ‘The Biennale is rich in ideas, strong on art and history, both nostalgic and critical about the past.’

Juliana Engberg, The Monthly

The Museum of Contemporary Art (MCA), fighter aircraft, considered the relationship Clockwise (from top left) Tony Schwensen a Biennale venue since 1998, exhibited 137 between art and power. Censored when it Fundrazor (Fuck you pay me) or who gets to sit at the pointy end of the plane?, 2008 works across three floors. Historic sculptures, first appeared in Buenos Aires in 1965, its Performance for the 16th Biennale of Sydney on photographs and films from around the still-controversial themes drew a Sydney the front lawn of the Museum of Contemporary Art Courtesy the artist and Uplands Gallery, world accompanied exciting new installations Morning Herald cover 43 years later. Melbourne and works. Tracey Moffatt and Gary Hillberg’s León Ferrari Outside the MCA, Sam Durant’s lightboxes REVOLUTION was a dramatic video collage La civilización occidental y cristiana (Western Christian Civilisation), 1965 – drawn from historic and contemporary of stereotypical scenes of revolution in the Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art protest placards of the African American history of film. Geoffrey Farmer’s Cockatoo Collection Alicia and León Ferrari, Buenos Aires and Native American civil rights movement Clock (A Play) was a fictional theatrical Installation view of Aleksandr Rodchenko’s in the USA and the Aboriginal civil rights production taking place within the walls of photographs and Spatial Constructions in the 16th Biennale of Sydney at the Museum of movement in Australia – illuminated issues the MCA and glimpsed through openings Contemporary Art Copyright © Aleksandr Rodchenko/VAGA of racial inequality. in the gallery walls. Christoph Büchel’s No Licensed by VISCOPY 2008 Aleksandr Rodchenko’s 1920s Spatial Future saw the formation of a punk rock band Opposite: Installation view of Sam Durant’s works Constructions and Alexander Calder’s playful of octogenarians who repeatedly rehearsed This is Freedom?, 200 Years of White Lies and End White Supremacy, 2008, in the 16th Biennale of mobiles from 1945, showed the beginnings the Sex Pistols’ ‘God Save the Queen’ Sydney on the façade and the front lawn of the of rotation and movement in sculpture. More throughout the three-month exhibition. Julie Museum of Contemporary Art Courtesy the artist and Blum & Poe, Los Angeles recent mobile works by Olafur Eliasson and Rrap’s BUST(ED), an upside-down silicon This project was made possible with generous support of Blum & Poe, Los Angeles and with Maurizio Cattelan were exhibited – the latter nude, inverted sculptural and self-portraiture assistance from the Farrell Family Foundation astounding audiences with Novecento (1997), traditions. There were performances by Dora a taxidermied horse suspended from the García, Ana Prvacki and Tony Schwensen. ceiling. Films by Guy Debord and Gil Joseph Wolman León Ferrari’s Western Christian Civilisation, were screened, along with the film of John portraying Christ crucified on an American Cage’s famous silent symphony 4’33’’.

20 2008 BIENNALE OF SYDNEY REPORT MUSEUM OF CONTEMPORARY ART ‘The Biennale is rich in ideas, strong on art and history, both nostalgic and critical about the past.’

Juliana Engberg, The Monthly

20 2008 BIENNALE OF SYDNEY REPORT Clockwise (from top left) Installation view of Maurizio Cattelan’s Novecento, Aleksandr Rodchenko’s photographs and Spatial Constructions and Rodney Graham’s Untitled in the 16th Biennale of Sydney at the Museum of Contemporary Art

Anawana Haloba When the Private Became Public, 2008 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Courtesy the artist; Rijksakademie, Amsterdam; and Notam02 Studios, Oslo Produced during a residency at Casula Powerhouse Arts Centre This project was made possible with assistance from the O ce for Contemporary Art, Norway

Lawrence Weiner WITH A RELATION TO THE VARIOUS MANNERS OF PLACEMENT AND / OR LOCATION: HAVING BEEN REVOLVED (WITH OR WITHOUT A RESOLUTION) (WITHIN OR WITHOUT ...) ( ) REVOLVED (BEING THEN WITHIN A CONTEXT OF REVOLUTION), 1974 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Courtesy the artist and the FER Collection, Germany

Opposite Top: Sharmila Samant Against the Grain, 2008 and Sounds of the Silenced, 2008 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Courtesy the artist This project was made possible with the generous support of the Keir Foundation and additional support from Bose Pacia Gallery, New York

Bottom: Hélio Oiticica and Neville D’Almeida Quasi-cinemas / CC5 Hendrix War, 1973 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Collection Inhotim Centro de Arte Contemporânea, Minas Gerais, Brazil

Yevgeniy Fiks’s photographic installation, Simryn Gill, Anawana Haloba, Pierre Huyghe, Communist Guide to Sydney, explored the Joan Jonas, Reinhard Mucha, Ana Prvacki, history of the local communist movement. Hans Schabus and Vivan Sundaram. More than 30 historic photographs from the Existing and remade projects were shown 1920s and 1930s by László Moholy-Nagy, by Ibon Aranberri, Tamy Ben-Tor, Chris Tina Modotti, Georgy Petrusov, Man Ray and Burden, Agustín Víctor Casasola, Attila Aleksandr Rodchenko were exhibited. Csörgo´´, Destiny Deacon, Rodney Graham, Sharmila Samant’s installation of Mary Kelly and Kelly Barrie, Rosemary Laing, handcrafted snakes, woven by a grain David Medalla, Mario Merz, Hélio Oiticica farming community in Bolangir, was a and Neville D’Almeida, Giuseppe Pinot- tribute to the agricultural crisis in India and Gallizio, Natascha Sadr Haghighian and its victims. The ﬁnal element of the project, Lawrence Weiner. Gilt, was an auction of the rice sculptures expertly led by Andrew Shapiro of Shapiro Auctioneers to raise money for the families of the farmers. Other artworks included Giuseppe Penone’s Rovesciare i propri occhi (To Reverse One’s Eyes), Michelangelo Pistoletto’s La capriola (The Somersault) and a selection of Miroslav Tichý’s photographs taken using home-made cameras that he builds himself. New works were also created by Allora & Calzadilla, Simon Denny, Dora García,

22 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 23 Clockwise (from top left) Installation view of Maurizio Cattelan’s Novecento, Aleksandr Rodchenko’s photographs and Spatial Constructions and Rodney Graham’s Untitled in the 16th Biennale of Sydney at the Museum of Contemporary Art

22 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 23 ART GALLERY OF NEW SOUTH WALES

The Art Gallery of New South Wales drawings and a full-scale version of avant- (AGNSW) has been a Biennale venue since garde Russian artist Vladimir Tatlin’s model 1976 and exhibited 92 works in 2008. for Monument to the Third International (1919) Visitors were greeted by Dan Perjovschi’s made from discarded building materials poignant and irreverent sketches in white from the Aboriginal Housing Company chalk on the gallery’s stone façade and inside, in the Sydney suburb of Redfern. Gordon black marker pen on the windows. Nedko Bennett proposed a curatorial intervention, Solakov’s A Life (Black & White) involved the depicted in a series of architectural models, continuous painting of the entrance court alternating the AGNSW’s Indigenous walls, in black and then white, revolving in collection with works from the colonial and an endless loop. Ross Gibson engaged in modernist painting galleries, with works one-on-one conversations with visitors ‘re-hung’ upside down. for the duration of the exhibition in Luigi Russolo’s pivotal work La Rivolta Conversations II. (The Revolt) (c. 1911) formed one of the Following his 2007 site visit, Michael inspirations for the exhibition, depicting Rakowitz presented White man got no a city literally overturned by a rebellion, dreaming (2008), a narrative series of a mass of bodies pushing upwards and

Clockwise (from top right) Stuart Ringholt demonstrating his Anger workshops for the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist and Anna Schwartz Gallery: Sydney and Melbourne

Nedko Solakov A Life (Black & White), 1999 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist

Jean Tinguely Bascule no 1: Sisyphus (See-saw no 1: Sisyphus), 1965 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Museum of Contemporary Art, Sydney; J W Power Bequest, purchased 1967 Copyright © Jean Tinguely/ADAGP. Licensed by VISCOPY 2008

Opposite Top: Dan Perjovschi installing his work for the 16th Biennale of Sydney at the Art Gallery of New South Wales

Bottom: Dan Perjovschi The Sydney Drawing, 2008 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist and Lombard-Freid Projects, New York

24 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 25 ART GALLERY OF NEW SOUTH WALES

Nedko Solakov A Life (Black & White), 1999 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist

Opposite Top: Dan Perjovschi installing his work for the 16th Biennale of Sydney at the Art Gallery of New South Wales

Bottom: Dan Perjovschi The Sydney Drawing, 2008 Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales Courtesy the artist and Lombard-Freid Projects, New York

24 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 25 outwards, creating a stream of energy in colour and form. Other works included Marcel Duchamp’s iconic Bicycle wheel (1913), the Untitled (2002) spiral table by Mario and Marisa Merz, Dan Graham’s films capturing the body rolling and spinning, Swiss artist Jean Tinguely’s fragment from the 1960 performance Homage to New York and Michael Snow’s sculptural installation De La (1969–72). Peter Fischli/David Weiss’ Equilibres series (1984–86) captured and contained photographic moments of precarious balance and movement. Stuart Ringholt memorably invited up to 40 visitors at a time to join his Opposite: Michael Rakowitz White man got no dreaming, 2008 free Anger workshops and expel their stress Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales and anger. Pushwagner’s surreal and pop Courtesy the artist and Lombard-Freid Projects, landscapes on canvas, paper and animated New York This project was made possible thanks to the film showed a cast of mechanised figures generous support of the Dena Foundation and bleak modernist buildings in a parody of This page (from top to bottom) contemporary life, while Gianni Colombo’s Tim Lee Goldberg Variations, Aria, BWV 988, Johann kinetic works from the 1960s, Spazio Elastico Sebastian Bach, 1741 (Glenn Gould, 1981), 2007 Installation view of the 16th Biennale of Sydney and Strutturazione Pulsante, showed dynamic at the Art Gallery of New South Wales forms and installations that pulsated and Courtesy the artist; Tracey Lawrence Gallery, Vancouver; Cohan and Leslie, New York; Johnen + morphed, expanded and contracted. Schottle, Cologne; and Lisson Gallery, London Also exhibited at the AGNSW were works Mario Merz and Marisa Merz Untitled, 2002 by Francis Alÿs, Ayreen Anastas and Rene Installation view of the 16th Biennale of Sydney Gabri, James Angus, Thomas Bayrle, Hans at the Art Gallery of New South Wales Collection Merz, Turin Bellmer, Joseph Beuys, Thomas Bock, Destiny Copyright © Mario Merz/SIAE. Licensed by VISCOPY 2008 Deacon, Mark Dion, Rebecca Horn, Ranbir Kaleka, Yves Klein, Jannis Kounellis, Mick Installation view of Raquel Ormella’s Wild Rivers: Cairns, Brisbane, Sydney, 2008 and Joseph Kubarrku, Bari Kumar, Richard Larter, Tim Beuys’ Unterrichtstafel aus dem Büro für Direkte Demokratie (Blackboard from the O ce for Direct Lee, Klara Liden, Renata Lucas, Len Lye, Adolf Democracy), 1971, in the 16th Biennale of Sydney Luther, Tommy McRae, Kasimir Malevich, at the Art Gallery of New South Wales Copyright © Joseph Beuys/Bild-Kunst. Licensed Piero Manzoni, Gordon Matta-Clark, Saburo by VISCOPY 2008 Murakami, Bruce Nauman, Yoko Ono, Raquel Yoko Ono Telephone Piece, 1997/2008 Ormella, Giulio Paolini, Lia Perjovschi, Installation view of the 16th Biennale of Sydney Adrian Piper, Carolee Schneemann, Robert at the Art Gallery of New South Wales Courtesy and copyright the artist Smithson, Jesús Rafael Soto, Atsuko Tanaka, Slavko Tihec, Tommy Trantino and Viktor Vasarely.

2008 BIENNALE OF SYDNEY REPORT 27 outwards, creating a stream of energy in colour and form. Other works included Marcel Duchamp’s iconic Bicycle wheel (1913), the Untitled (2002) spiral table by Mario and Marisa Merz, Dan Graham’s films capturing the body rolling and spinning, Swiss artist Jean Tinguely’s fragment from the 1960 performance Homage to New York and Michael Snow’s sculptural installation De La (1969–72). Peter Fischli/David Weiss’ Equilibres series (1984–86) captured and contained photographic moments of precarious balance and movement. Stuart Ringholt memorably invited up to 40 visitors at a time to join his Opposite: Michael Rakowitz White man got no dreaming, 2008 free Anger workshops and expel their stress Installation view of the 16th Biennale of Sydney at the Art Gallery of New South Wales and anger. Pushwagner’s surreal and pop Courtesy the artist and Lombard-Freid Projects, landscapes on canvas, paper and animated New York This project was made possible thanks to the film showed a cast of mechanised figures generous support of the Dena Foundation and bleak modernist buildings in a parody of This page (from top to bottom) contemporary life, while Gianni Colombo’s Tim Lee Goldberg Variations, Aria, BWV 988, Johann kinetic works from the 1960s, Spazio Elastico Sebastian Bach, 1741 (Glenn Gould, 1981), 2007 Installation view of the 16th Biennale of Sydney and Strutturazione Pulsante, showed dynamic at the Art Gallery of New South Wales forms and installations that pulsated and Courtesy the artist; Tracey Lawrence Gallery, Vancouver; Cohan and Leslie, New York; Johnen + morphed, expanded and contracted. Schottle, Cologne; and Lisson Gallery, London Also exhibited at the AGNSW were works Mario Merz and Marisa Merz Untitled, 2002 by Francis Alÿs, Ayreen Anastas and Rene Installation view of the 16th Biennale of Sydney Gabri, James Angus, Thomas Bayrle, Hans at the Art Gallery of New South Wales Collection Merz, Turin Bellmer, Joseph Beuys, Thomas Bock, Destiny Copyright © Mario Merz/SIAE. Licensed by VISCOPY 2008 Deacon, Mark Dion, Rebecca Horn, Ranbir Kaleka, Yves Klein, Jannis Kounellis, Mick Installation view of Raquel Ormella’s Wild Rivers: Cairns, Brisbane, Sydney, 2008 and Joseph Kubarrku, Bari Kumar, Richard Larter, Tim Beuys’ Unterrichtstafel aus dem Büro für Direkte Demokratie (Blackboard from the O ce for Direct Lee, Klara Liden, Renata Lucas, Len Lye, Adolf Democracy), 1971, in the 16th Biennale of Sydney Luther, Tommy McRae, Kasimir Malevich, at the Art Gallery of New South Wales Copyright © Joseph Beuys/Bild-Kunst. Licensed Piero Manzoni, Gordon Matta-Clark, Saburo by VISCOPY 2008 Murakami, Bruce Nauman, Yoko Ono, Raquel Yoko Ono Telephone Piece, 1997/2008 Ormella, Giulio Paolini, Lia Perjovschi, Installation view of the 16th Biennale of Sydney Adrian Piper, Carolee Schneemann, Robert at the Art Gallery of New South Wales Courtesy and copyright the artist Smithson, Jesús Rafael Soto, Atsuko Tanaka, Slavko Tihec, Tommy Trantino and Viktor Vasarely.

2008 BIENNALE OF SYDNEY REPORT 27 PIER 2/3 ‘… a sensually arresting ONLINE VENUE and conceptually compelling work.’

Ryszard Babek, Australian Art Monthly (on The Murder of Crows)

Pier 2/3, an historic waterfront wharf, was In a world first for a biennale, the Biennale Other new works were created by Pedro used by the Biennale of Sydney for the of Sydney premiered a specially designed Barateiro, Damp with Kresna Cameron, Chad fifth time. Janet Cardiff and George Bures online venue – revolutionsonline. Created in Creighton, Moses Gibson, Nicole Foreshew, Miller premiered a major new installation partnership with The House of Laudanum, Nadia Itaywi, Glen Pilkington, Marika Smith – The Murder of Crows – a 30-minute work each visit to the venue offered a random and Christian Thompson, Jeremy Deller, utilising 100 speakers, which enveloped constellation of works that could include Sam Durant, et al. , I-Chen Kuo, Long March the viewer/listener. Pier 2/3 was also home film, video, audio, images, interactive works, Project and Dan Perjovschi. Please refer to Above: Matias Faldbakken to Intonarumori, an installation of historic live streaming performances, texts and links page 54 for a listing of Online Venue artists. Untitled (Young is Better Than Old), 2007 sound sculptures reconstructed from Italian Online venue still to existing websites. Courtesy the artist, Galerie Giti Nourbakhsch, artist Luigi Russolo’s early twentieth-century Berlin; Simon Lee Gallery, London; and Michael Rakowitz’s Live News Tickers Standard (OSLO) noise makers. A large canvas by Doreen Reid positioned live scrolling news headlines from Below left: Geo rey Farmer Nakamarra was displayed horizontally in the CNN underneath scrolling headlines from To open, we must close, 2008 centre of the Pier allowing visitors to look Online venue artwork Al Jazeera, the Arabic-language news Courtesy the artist and Catriona Je ries Gallery, on the work from above, as if viewing the network. Ahmet Ögüt created an online Vancouver landscape itself from the air. version of his Today in History, a digital book Below right: Ahmet Ögüt Today in History (online version), 2008 reflecting on the society and politics of his Online venue artwork Courtesy the artist; Platform Garanti homeland, Turkey. Matias Faldbakken’s Contemporary Art Centre, Istanbul; and Book Untitled (Young is Better Than Old) is a Works, London continuation of the artist’s recent series of Clockwise (from top) Luigi Russolo Janet Cardi & George Bures Miller Intonarumori, 1913–20 works made by writing on canvas, paper and The Murder of Crows, 2008 Reconstructed by Pietro Verardo, 2002/06 Installation view of the 16th Biennale of Sydney Installation view of the 16th Biennale of Sydney walls in black insulation tape. at Pier 2/3, Walsh Bay at Pier 2/3, Walsh Bay Nedko Solakov set the stage for the ‘The Commissioned by Thyssen-Bornemisza Art Courtesy Fondazione Gabriele Emilia Bianchi Contemporary, Vienna, for the 2008 Biennale onlus, Mirano (Venice) and Collection Pietro Great Second Life Revolution’, creating a of Sydney. The installation in Sydney was made Verardo, Venice possible with the generous support of the Canada waiting room in the virtual world Second Council for the Arts, the Biennale of Sydney and Doreen Reid Nakamarra Life where he waits for the revolution to Bowers & Wilkins Speakers. Untitled, 2008 Courtesy the artists; Luhring Augustine, New York; Installation view of the 16th Biennale of Sydney begin. Geoffrey Farmer’s simple and poetic and Galerie Barbara Weiss, Berlin. at Pier 2/3, Walsh Bay The presentation of this work in Sydney was Courtesy the artist and Papunya Tula Artists animation, To open, we must close, reflects also made possible with the generous support of on the nature of work and the worker, while Andrew and Cathy Cameron Yevgeniy Fiks monitored the daily sales of books by Lenin on Amazon.com.

28 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 29 PIER 2/3 ‘… a sensually arresting ONLINE VENUE and conceptually compelling work.’

Ryszard Babek, Australian Art Monthly (on The Murder of Crows)

28 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 29 SYDNEY OPERA HOUSE

In 1973, the inaugural Biennale of Sydney was part of the opening celebrations of the Sydney Opera House. Thirty-five years on, the Opera House was home to one of the 16th Biennale’s most ambitious works and remarkable achievements, A Forest of Lines, by Pierre Huyghe. Pierre Huyghe’s practice has earned him a reputation as one of the most experimental artists of his generation. His monumental apparition transformed the Concert Hall into a vast forest for 24 hours. Up to one thousand trees, including lilly pilly, palms, ferns and bamboo, were installed temporarily in the Concert Hall, replacing the 900 seats removed to create paths through the stage and stalls of one of the world’s most iconic buildings. A Forest of Lines was made possible through the generous support of The Ellipse Foundation – Contemporary Art Collection, Portugal and Marian Goodman Gallery, New York and Paris, and was presented by the Biennale of Sydney (2008) in association with the Sydney Opera House. It was produced with assistance from CULTURESFRANCE, the Embassy of France in Australia, Lumens Arte, Rent-A-Garden (Terrey Hills), the Technical Direction Company of Australia (TDC) and Poster M/M (Paris). In opening week, The Studio hosted Dora García’s imagined 1962 performance by stand-up comedian Lenny Bruce, one of the most fascinating and tragic personalities of the revolutionary 1960s. Bruce visited Sydney in September 1962 and after one-sentence of his performance – ‘What a fucking wonderful audience!’ – he was arrested on the grounds of obscenity and asked to leave Australia and never return. García’s Just because everything is different, it does not mean that anything has changed ‘let’ Lenny Bruce finally speak in Sydney. Ana Prvacki performed Music Derived Pain Killer in the western foyer of the Sydney Opera House during the final week of the exhibition.

Above: Pierre Huyghe Bottom left: Ana Prvacki A Forest of Lines, 2008 Music Derived Pain Killer, 2008 Installation view of the 16th Biennale of Sydney Performance for the 16th Biennale of Sydney in the Concert Hall of the Sydney Opera House at the Sydney Opera House Courtesy the artist and Marian Goodman Gallery, Courtesy the artist New York and Paris Made possible through the generous support of The Bottom right: Dora García Ellipse Foundation – Contemporary Art Collection, Just Because Everything Is Di erent It Does Not Portugal and Marian Goodman Gallery, New York Mean That Anything Has Changed, 2008 and Paris. Presented by the Biennale of Sydney Performance for the 16th Biennale of Sydney (2008) in association with the Sydney Opera House. at the Sydney Opera House A Forest of Lines was produced with assistance Courtesy the artist and Ellen de Bruijne Projects, from CULTURESFRANCE, the Embassy of France in Amsterdam Australia, Lumens Arte, Rent-A-Garden (Terrey Hills) and the Technical Direction Company of Australia (TDC).

Left: Visitors entering A Forest of Lines by Pierre Huyghe in the Concert Hall of the Sydney Opera House

30 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 31 SYDNEY OPERA HOUSE

Left: Visitors entering A Forest of Lines by Pierre Huyghe in the Concert Hall of the Sydney Opera House

30 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 31 ARTSPACE ROYAL BOTANIC GARDENS ELSEWHERE IN THE CITY

Sam Durant’s lightbox You Are On Indian Framed by exotic flora and dramatic views Messages from Yoko Ono’s Grapefruit were Land Show Some Respect was displayed on the of Sydney Harbour, two new works were displayed around the city, including the façade of Artspace and attracted attention exhibited in the Royal Botanic Gardens and windows of City of Sydney Council buildings. and comment from passers-by. Inside Domain. Giuseppe Penone’s eight-metre- Joan Jonas performed a new work, Reading the venue, Marcellvs L. presented Spree, a high sculpture Idee di pietra (Ideas of stone) Dante, at the Cell Block Theatre, National hypnotic large-scale video projection that appeared to be an upside-down tree with its Art School, made possible with the generous seemed to slow down time. VALIE EXPORT’s roots wrapped around a large stone. Destiny support of the National Art School and iconic Touch Cinema documented the artist’s Deacon and Virginia Fraser’s Occupied Performance Space (see page 37). revolutionary feminist performance from featured a modified canvas tent containing 1968 in which she allowed men on the artificial light and fans, and a series of streets to touch her breasts as a comment on sculptural figures, called ‘ravers’, made of the commodification and exploitation of the inflated nylon tubes. female body in consumer culture. A photograph of Piero Manzoni’s iron sculpture Socle du monde (Base of the World) was exhibited alongside works by aiPotu, Jeremy Deller and Claire Fontaine. Darius Mikšys presented his workshop Parents Meeting in Sydney involving the parents of Biennale artists discussing their offspring’s work.

LOGISTICS

This page (clockwise from top left) Opposite (clockwise from top left) International Art Services transported works Sam Durant Destiny Deacon and Virginia Fraser Installation view of Sam Durant’s work You Are On Occupied, 2008 from 46 cities worldwide, with some large- Indian Land Show Some Respect in the Mixed media installation for the 16th Biennale of 16th Biennale of Sydney on the façade of Artspace Sydney at the Royal Botanic Gardens scale works requiring multiple shipping Courtesy the artist and Blum & Poe, Los Angeles Courtesy the artists and Roslyn Oxley9 Gallery, This project was made possible with the generous Sydney containers. An ambitious freight schedule support of Blum & Poe, Los Angeles and with This project was made possible with the generous coordinated the timely delivery of 159 works assistance from the Farrell Family Foundation support of David Leach and Tony Kenny to Sydney by both air and sea. Piero Manzoni Yoko Ono Socle du monde (Base of the World), 1961 Installation view of ‘instruction paintings’ More than 294 works were lent to the gelatin-silver print from Yoko Ono’s book Grapefruit (1964/2000) Biennale of Sydney from over 136 private, 17.8 x 17.7 cm displayed in windows throughout Sydney for the Courtesy Archivio Opera Piero Manzoni, Milan 16th Biennale of Sydney public and artists’ collections. Of these, Copyright © Piero Manzoni/SIAE. Licensed by Courtesy the artist VISCOPY 2008 166 were historic works from around the Giuseppe Penone world, including the Whitney Museum of aiPotu Idee di pietra (Ideas in stone), 2004–07 If you don’t like the weather, wait 15 minutes, 2008 Sculpture installed for the 16th Biennale of Sydney American Art, National Gallery of Canada, Installation view of the 16th Biennale of Sydney in the Domain at Artspace Courtesy the artist and Marian Goodman Gallery, Gemeentemuseum Den Haag and the Courtesy the artists New York and Paris Generali Foundation, Vienna. The Biennale follows best-practice standards assuring lenders’ works are handled with extreme care. The Biennale acknowledges the assistance of Arts NSW through the New South Wales Government Exhibitions Indemniﬁcation Scheme.

32 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 33 ARTSPACE ROYAL BOTANIC GARDENS ELSEWHERE IN THE CITY

LOGISTICS

32 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 33 OPENING WEEK

Opening Week of the 2008 Biennale of Exhibition launches and receptions Sydney heralded 74 events, including ﬁve Opening launches by senior government exhibition venue launches, 33 artists’ talks, representatives celebrated the Biennale of nine performances, a two-day symposium, Sydney’s close association with the federal, foreign government receptions, guided tours state and city governments: Her Excellency and industry networking events. Professor Marie Bashir AC, CVO, Governor of New South Wales launched Pier 2/3; Clover Vernissage presented in association Moore MP, Lord Mayor of Sydney launched with Etihad Airways was enjoyed by over the Museum of Contemporary Art; and 5000 people Marcelle Hoff, Councillor, City of Sydney The Vernissage (professional preview day) launched the Art Gallery of New South Wales. allowed partners and guests, Friends of the Their Excellencies Major General Michael Biennale of Sydney, media, the Australian Jeffery AC CVO MC (Retd), Governor-General arts community and industry invitees to of the Commonwealth of Australia, and enjoy the exhibition a day ahead of the Mrs Jeffery generously hosted a reception public opening. at Admiralty House for the artists and diplomatic community to celebrate the Biennale.

2008 BIENNALE OF SYDNEY REPORT 35 OPENING WEEK

2008 BIENNALE OF SYDNEY REPORT 35 Previous page: The Artists’ and Supporters’ Party in the Turbine Hall at Cockatoo Island during Opening Week

This page (clockwise from left) Opening week celebrations at the Museum of Contemporary Art

Joan Jonas Reading Dante, 2008 Performance for the 16th Biennale of Sydney at the Cell Block Theatre, National Art School Courtesy the artist; Yvon Lambert, Paris and New York; and Wilkinson Gallery, London

Christoph Büchel No Future, 2008 Installation view of the 16th Biennale of Sydney at the Museum of Contemporary Art Courtesy the artist and Hauser & Wirth Zurich, London with the support of MONA, Museum of Old and New Art, Tasmania. Musical equipment supplied by Drum City, Willoughby

Artistic Director Carolyn Christov-Bakargiev leads a preview tour at Pier 2/3, Walsh Bay

Artists’ talks and symposium connected Artists’ and Supporters’ Party stunned a Partners, supporters, Friends and people with the exhibition by providing crowd of more than 2000 guests international guests enjoyed a week of ‘Meticulously curated, insights and understanding and encouraging Guests to the Artists’ and Supporters’ Party behind-the-scenes previews, tours and insightful, rigorously the exchange of ideas were transported across Sydney Harbour to opportunities to connect with artists During Opening Week, 33 artists’ talks took Cockatoo Island to be welcomed by the sheer The all-day preview for benefactors and researched, the Biennale place across all exhibition venues providing cliff face floodlit revolutionary red. The awe- supporters was, again, a major highlight and first-hand opportunities to hear artists inspiring Turbine Hall was transformed by provided a unique opportunity to experience is unequivocably discuss their practice in an intimate and leading Australian architect Tina Engelen and the final moments of the installation process engaging forum. Talks were well attended MSF Events into a spectacular revolutions- prior to launches at four of the exhibition dedicated to by supporters, the arts community, students themed party where people danced to an venues – the Art Gallery of New South and the general public. More than 200 people eclectic array of music played by one of Wales, Cockatoo Island, the Museum of investigation and attended the two-day symposium held at Sydney’s most inspiring young DJs, Huwston Contemporary Art and Pier 2/3. the Art Gallery of New South Wales, with Ellis. The Artists’ and Supporters’ Party was remarkably free of a keynote address presented by Professor supported by Boag’s, Mojo, Rock Bare, Blue Michael Taussig. Dan Graham also presented Pyrenees, Fratelli Fresh and Simmer on pomposity.’ the 2008 Lloyd Rees Memorial Lecture at the Bay. The VIP Lounge was presented the Museum of Contemporary Art. Please by Bulgari. Jo Bertini, Australian Art Review refer to page 38 for more information on the symposium and the public program.

36 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 37 Previous page: The Artists’ and Supporters’ Party in the Turbine Hall at Cockatoo Island during Opening Week

This page (clockwise from left) Opening week celebrations at the Museum of Contemporary Art

Artistic Director Carolyn Christov-Bakargiev leads a preview tour at Pier 2/3, Walsh Bay

36 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 37 EVENTS AND PROGRAMS ‘I came away from the event with a sense of being challenged to engage on a deeper level with works that, rather than jumping up and grabbing me by the throat with their look-at-me aesthetics, operated on a quieter, less materialistic and more subversive level.’

Virginia Were, Art New Zealand

Over the exhibition period, 133 public and Rachel Kent (MCA), Kylie Kwong (chef ) and This page (clockwise from left) Opening Week. For Parents Meeting in Sydney, MCA, the Biennale initiated a Teachers’ Tour Symposium, keynote addresses and forums Dr Dougal Phillips leads the Teachers’ Tour education programs and events were held Nell (artist), Christine Morrow (MCA) and of Cockatoo Island Darius Mikšys invited parents of Biennale of Pier 2/3 and Cockatoo Island to engage generated discussion with more than 7000 people attending. Aaron Seeto (Asia-Australia Arts Centre). Artist Mike Parr reading text from the exhibition artists to Artspace to meet Carolyn Christov- students and link the artworks to the Visual The 2008 Biennale of Sydney Symposium, Artists’ talks were enjoyed by over 700 catalogue as part of the Revolutionary Readings Bakargiev and discuss the work of their Arts syllabus, allowing teachers to prepare held in partnership with the Department Positive feedback from the general public and at the Museum of Contemporary Art arts professionals supported the range and people with 36 talks taking place in Biennale offspring. Atelier Bow-Wow and Dan Graham and plan school excursions. In addition, of Media, Macquarie University, Sydney Art in the Dark, evening tour of Cockatoo Island quality of events. These programs included venues. At Pier 2/3, a series of curatorial talks conducted a bus tour around Sydney’s Teacher Previews and Study Mornings were and the University of Technology, Sydney, Opposite (clockwise from left) suburbs and a workshop exploring and held at the MCA and the AGNSW. took place during Opening Week at the artists’ talks, a symposium, ‘Constellations’, were hosted with special guests including Art Kylie Kwong, chef, and Nell, artist, give a Mystery artist performances, children’s programs, Gallery of New South Wales (AGNSW) curator Tour of Cockatoo Island discussing the built environment. The Biennale established a subsidised Domain Theatre, AGNSW. A keynote lecture teacher tours, keynote lectures, Lord Mayor’s Hetti Perkins and sound artist Alex Davies. Atelier Bow-Wow and Dan Graham conduct a tour In July, Ryan Gander delivered his Loose travel program with a grant from ConnectEd by Professor Michael Taussig, Humming, Day tours and guided tours. Revolutionary Readings took place at the of Sydney’s suburbs Associations Lecture (Version 1.1) and Arts – a joint initiative of the Department of explored the place between singing and Museum of Contemporary Art (MCA) every Audience at Professor Michael Taussig’s Keynote On Honesty lectures at the AGNSW, while the Arts, Sports and Recreation and the New talking. Over the two-day event, panel Lecture in Opening Week at the Art Gallery of New Talks, tours and readings offered insights Saturday afternoon during the exhibition South Wales in Closing Week, Liam Gillick undertook South Wales Department of Education & participants included Biennale artists into the exhibition period with guest readers, including Biennale a project whereby he corresponded Training – to allow Priority School Funding Richard Bell, Gerard Byrne, Attila Csörgo´´, Cockatoo Island created a new and more artists Ross Gibson and Mike Parr, reading individually via email and phone with Program (PSFP) schools to attend the Emory Douglas, Sam Durant, William adventurous space for talks and public texts from the exhibition catalogue. members of the public who booked online exhibition. Kentridge, Sharmila Samant and Michael programs. Mystery Tours of the island were for this revolutionary ‘lecture’ format. The two Revolting Kids! days at Cockatoo Snow; international guests Garland Allen a great success with ten booked-out Saturday Special lectures and workshops connected Island on 12 and 19 July received over 3700 (Washington University, St Louis), Tyler morning tours; leaders included Marah Braye artists to the community Programs for schools and children were a visits. Children crafted pirate hats and used Cann (Len Lye Collection, New Zealand) and and Richard Jinman (The Sydney Morning A number of special lectures and workshops new focus for the Biennale a specially created treasure map to ﬁnd and Wystan Curnow (University of Auckland, Herald), Bec Dean (Performance Space), with Biennale artists were held during In partnership with the AGNSW and the explore the artworks across the island. New Zealand); and Australian guests

38 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 39 EVENTS AND PROGRAMS ‘I came away from the event with a sense of being challenged to engage on a deeper level with works that, rather than jumping up and grabbing me by the throat with their look-at-me aesthetics, operated on a quieter, less materialistic and more subversive level.’

Virginia Were, Art New Zealand

38 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 39 within the 2008 Biennale theme – were in contemporary art in and between the two Biennale guests connected with artists and for the Closing Week program of the Opposite (clockwise from top) Virginia Madsen (Macquarie University), Artistic Director Carolyn Christov-Bakargiev leads Katherine Millard (Macquarie University), held across the city in partnership with countries and in the region, including joint curators across Australia Biennale (refer to page 55 for further details). a preview tour for benefactors and supporters on Cockatoo Island Romaine Moreton, Stephen Muecke Artspace and the Centre for Contemporary projects, biennales, art museums and the role Biennale artists Darius Mikšys and aiPotu travelled to Bundanon (NSW) for the Film program enjoyed by 6254 people Children’s activities at the Revolting Kids! day on (University of Technology, Sydney), John Art and Politics, University of New South of artists. Cockatoo Island Potts (Macquarie University) and MC Trey. Wales. They featured local and international The Biennales in Dialogue forum – In Conversation program with Craig Judd A free film series at the AGNSW, co-curated Pirates and children at the Revolting Kids! day on The 2008 Lloyd Rees Memorial Lecture artists and curators, including special guests hosted by the Australia Council for the and a residency. Biennale artist Ana Prvacki by Carolyn Christov-Bakargiev and Robert Cockatoo Island witnessed 225 guests fill the MCA Natasha Conland (Auckland Art Gallery Toi o Arts in partnership with the Biennale undertook a two-week residency at Gertrude Herbert, presented 38 screenings over a This page: Pirates take over Cockatoo Island at Foundation Hall to hear Dan Graham discuss Ta-maki, New Zealand), Jens Hoffman (CCA of Sydney – featured keynote addresses Contemporary Art Spaces, Melbourne. The three-month period and was attended by the Revolting Kids! day Works Between Art and Architecture. A special Wattis Institute for Contemporary Arts, San from Okwui Enwezor (Gwangju Biennale) Australian Department of Foreign Affairs and 6254 people. talk by Pierre Huyghe also took place at the Francisco), Manray Hsu (Taipei Biennial) and at the AGNSW and Robert Storr (Yale Trade, under the auspices of the International MCA in July in relation to his work A Forest Kathryn Smith (University of Stellenbosch, University) at the MCA, as well as a closed Cultural Visits Program (ICV), supported of Lines. South Africa). session with presentations from a range of Manray Hsu, curator of Taipei Biennale, to In Closing Week, Carolyn Christov- Two major conferences were held to international delegates. The forum focused spend a week in Sydney before travelling to Bakargiev delivered a closing address at coincide with the Biennale exhibition period. on issues relating to the rapidly developing Brisbane and Melbourne for a schedule of the AGNSW, which was followed by a panel In Opening Week, the AGNSW hosted environment of biennales and triennials and meetings and tours of museums and artist- discussion featuring curators, academics and Hello Tokyo!, an Asialink public forum included perspectives from other important run spaces. journalists. featuring some of the foremost artists and national and international arts events The Biennale’s emerging curators Three Biennale ‘Constellations’ – forums curators from Japan and Australia, including facing challenges of global, political and program, supported by the U.S. Embassy, involving artists, curators and academics, 2008 Biennale artists Shaun Gladwell and sociocultural change. Canberra, brought curators from Darwin, focusing on specific topics drawn from Jin Kurashige. The forum reviewed key issues Brisbane, Melbourne and Perth to Sydney

40 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 41 within the 2008 Biennale theme – were in contemporary art in and between the two Biennale guests connected with artists and for the Closing Week program of the Opposite (clockwise from top) Virginia Madsen (Macquarie University), Artistic Director Carolyn Christov-Bakargiev leads Katherine Millard (Macquarie University), held across the city in partnership with countries and in the region, including joint curators across Australia Biennale (refer to page 55 for further details). a preview tour for benefactors and supporters on Cockatoo Island Romaine Moreton, Stephen Muecke Artspace and the Centre for Contemporary projects, biennales, art museums and the role Biennale artists Darius Mikšys and aiPotu travelled to Bundanon (NSW) for the Film program enjoyed by 6254 people Children’s activities at the Revolting Kids! day on (University of Technology, Sydney), John Art and Politics, University of New South of artists. Cockatoo Island Potts (Macquarie University) and MC Trey. Wales. They featured local and international The Biennales in Dialogue forum – In Conversation program with Craig Judd A free film series at the AGNSW, co-curated Pirates and children at the Revolting Kids! day on The 2008 Lloyd Rees Memorial Lecture artists and curators, including special guests hosted by the Australia Council for the and a residency. Biennale artist Ana Prvacki by Carolyn Christov-Bakargiev and Robert Cockatoo Island witnessed 225 guests fill the MCA Natasha Conland (Auckland Art Gallery Toi o Arts in partnership with the Biennale undertook a two-week residency at Gertrude Herbert, presented 38 screenings over a This page: Pirates take over Cockatoo Island at Foundation Hall to hear Dan Graham discuss Ta-maki, New Zealand), Jens Hoffman (CCA of Sydney – featured keynote addresses Contemporary Art Spaces, Melbourne. The three-month period and was attended by the Revolting Kids! day Works Between Art and Architecture. A special Wattis Institute for Contemporary Arts, San from Okwui Enwezor (Gwangju Biennale) Australian Department of Foreign Affairs and 6254 people. talk by Pierre Huyghe also took place at the Francisco), Manray Hsu (Taipei Biennial) and at the AGNSW and Robert Storr (Yale Trade, under the auspices of the International MCA in July in relation to his work A Forest Kathryn Smith (University of Stellenbosch, University) at the MCA, as well as a closed Cultural Visits Program (ICV), supported of Lines. South Africa). session with presentations from a range of Manray Hsu, curator of Taipei Biennale, to In Closing Week, Carolyn Christov- Two major conferences were held to international delegates. The forum focused spend a week in Sydney before travelling to Bakargiev delivered a closing address at coincide with the Biennale exhibition period. on issues relating to the rapidly developing Brisbane and Melbourne for a schedule of the AGNSW, which was followed by a panel In Opening Week, the AGNSW hosted environment of biennales and triennials and meetings and tours of museums and artist- discussion featuring curators, academics and Hello Tokyo!, an Asialink public forum included perspectives from other important run spaces. journalists. featuring some of the foremost artists and national and international arts events The Biennale’s emerging curators Three Biennale ‘Constellations’ – forums curators from Japan and Australia, including facing challenges of global, political and program, supported by the U.S. Embassy, involving artists, curators and academics, 2008 Biennale artists Shaun Gladwell and sociocultural change. Canberra, brought curators from Darwin, focusing on specific topics drawn from Jin Kurashige. The forum reviewed key issues Brisbane, Melbourne and Perth to Sydney

40 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 41 PUBLICATIONS AND RESOURCES

and more than 100 images A free 44-page full-colour Teacher’s Kit, with theme, Revolutions – Forms That Turn Morgan (Tate Modern, London), Hans Ulrich This page (clockwise from left) Printed in full-colour, the 104-page guide photographs and information about works The artists’ book included drawings (some Obrist (Serpentine Gallery, London), Hetti Cover and inside of the 2008 Student Newspaper was an invaluable tool to assist visitors in the on display, was developed to provide school historic), notations and sketches by 138 Perkins (Art Gallery of New South Wales), Education hubs at the Museum of Contemporary Art (top), the Art Gallery of New South Wales navigation and interpretation of the city-wide groups with all the information required to artists, with more than 70 artists creating Kathryn Smith (University of Stellenbosch, (middle) and Cockatoo Island (bottom) exhibition. The guide contained extensive study the Biennale, both in the classroom new drawings. An anthology of more South Africa), Russell Storer (Queensland event and program information, as well as a and on-site at venues. than 40 revolutionary writings framed the Art Gallery | Gallery of Modern Art) and Jane three-month event calendar. One hundred exhibition concept and drawings, touring the Taylor (University of the Witwatersrand, and ten thousand copies were printed and Education Hubs provided access to video reader through revolutionary thought and Johannesburg, South Africa). distributed at venues. interviews, biographies and information on forms. Also featured were original essays by artists and their work Carolyn Christov-Bakargiev, Jonathan Crary Thanks to the Gordon Darling Foundation, In each of the principal Biennale venues, (Columbia University, New York), Iwona the Biennale produced the inaugural Student Education Hubs featured screens showing an Blazwick (Whitechapel Art Gallery, London) Newspaper ongoing program of 60-second interviews and Charles Harrison (The Open University, The free 24-page newspaper, a stimulus with 2008 Biennale artists, as well as UK), and contributions by Iara Boubnova resource for years 9–12 Visual Arts students, catalogues and computers that allowed access (Institute of Contemporary Art, Bulgaria), explored selected Biennale artists’ practice in to the expanded website and the online Natasha Conland (Auckland Art Gallery relation to the key exhibition themes. Twenty venue. Toi o Ta-maki, New Zealand), Massimiliano thousand copies were distributed at venues. Gioni (New Museum, New York), Raimundas

42 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 43 PUBLICATIONS AND RESOURCES

Free guide included detailed ﬂoor plans and Teacher’s Kit helped schools engage with the The 304-page artists’ book was a unique Malašauskas (CCA Wattis Institute for Opposite top: 2008 Free Guide venue maps, texts on artists and artworks, exhibition during and after the event meditation in drawings and texts on the Contemporary Arts, San Francisco), Jessica Opposite bottom: 2008 Catalogue and more than 100 images A free 44-page full-colour Teacher’s Kit, with theme, Revolutions – Forms That Turn Morgan (Tate Modern, London), Hans Ulrich This page (clockwise from left) Printed in full-colour, the 104-page guide photographs and information about works The artists’ book included drawings (some Obrist (Serpentine Gallery, London), Hetti Cover and inside of the 2008 Student Newspaper was an invaluable tool to assist visitors in the on display, was developed to provide school historic), notations and sketches by 138 Perkins (Art Gallery of New South Wales), Education hubs at the Museum of Contemporary Art (top), the Art Gallery of New South Wales navigation and interpretation of the city-wide groups with all the information required to artists, with more than 70 artists creating Kathryn Smith (University of Stellenbosch, (middle) and Cockatoo Island (bottom) exhibition. The guide contained extensive study the Biennale, both in the classroom new drawings. An anthology of more South Africa), Russell Storer (Queensland event and program information, as well as a and on-site at venues. than 40 revolutionary writings framed the Art Gallery | Gallery of Modern Art) and Jane three-month event calendar. One hundred exhibition concept and drawings, touring the Taylor (University of the Witwatersrand, and ten thousand copies were printed and Education Hubs provided access to video reader through revolutionary thought and Johannesburg, South Africa). distributed at venues. interviews, biographies and information on forms. Also featured were original essays by artists and their work Carolyn Christov-Bakargiev, Jonathan Crary Thanks to the Gordon Darling Foundation, In each of the principal Biennale venues, (Columbia University, New York), Iwona the Biennale produced the inaugural Student Education Hubs featured screens showing an Blazwick (Whitechapel Art Gallery, London) Newspaper ongoing program of 60-second interviews and Charles Harrison (The Open University, The free 24-page newspaper, a stimulus with 2008 Biennale artists, as well as UK), and contributions by Iara Boubnova resource for years 9–12 Visual Arts students, catalogues and computers that allowed access (Institute of Contemporary Art, Bulgaria), explored selected Biennale artists’ practice in to the expanded website and the online Natasha Conland (Auckland Art Gallery relation to the key exhibition themes. Twenty venue. Toi o Ta-maki, New Zealand), Massimiliano thousand copies were distributed at venues. Gioni (New Museum, New York), Raimundas

42 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 43 ATTENDANCE AND AUDIENCE RESEARCH

38 per cent increase in attendance Key findings from this research indicated 436,150 visits were recorded over the six that visitors: main venues,* a 38 per cent increase of − had a positive overall experience (91%) 119,339 visits over 2006 attendance figures.** − were likely or extremely likely to Attendance to the Museum of Contemporary recommend the Biennale to others (86%) Art increased by 66 per cent and the Art − were first-time visitors (63%) Gallery of New South Wales by 28 per cent on − liked Cockatoo Island (86%), with one in 2006. Cockatoo Island (a new major venue in two rating it as ‘excellent’ 2008) received 86,843 visits over the 12-week − visited an average of 2–3 venues period, with 91 per cent taking advantage − had visited the Biennale of Sydney of the free ferry service, made possible by website before attending the exhibition The Balnaves Foundation and the Sydney (39%), with 79% of those saying it was Harbour Federation Trust. Special events also easy to find the information they needed increased attendance – in particular, Pierre − came from outside Sydney (49%) and of Huyghe’s work A Forest of Lines at the Sydney these, almost half the respondents were Opera House, which attracted 6353 visits in international visitors just 24 hours. − had been influenced to attend by word of mouth (one in two); a similar proportion Audience research evaluates performance had been influenced by marketing and informs future planning materials. Forty percent (40%) were Independent visitor research was conducted influenced by paid advertising. on behalf of the Biennale by key-sector body, Museums & Galleries NSW. Over a six-week The most common aspects enjoyed by period during the Biennale, 425 surveys were visitors to the Biennale were the exhibits/ administered at the five main venues or artists/artworks and the venues and locations. online. Other aspects attracting comment were the personal impact the artworks and environment had upon the viewer, and the convenient and free access to the exhibition.

of adventure and the Visitors entering A Forest of Lines by Pierre Huyghe in the Concert Hall of the Sydney Opera House

pleasure of knowledge Dora García What A Fucking Wonderful Audience, 2008 Performance for the 16th Biennale of Sydney central to tourism’s at the Museum of Contemporary Art Courtesy the artist and Ellen de Bruijne Projects, economy of desire and Amsterdam Guests enjoying the 16th Biennale of Sydney uses them as a platform to Artists’ and Supporters’ Party Shaun Gladwell STREET HAUNTING/GHOST RIDING/ORGAN, 2008 Installation view of the 16th Biennale of Sydney present an engaging but at Cockatoo Island Videography: Gotaro Uematsu Post-production: Josh Raymond critical exhibition.’ This project was assisted by the Sherman Contemporary Art Foundation Courtesy the artist and Anna Schwartz Gallery: Reuban Keehan, Art & Australia Sydney and Melbourne

44 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 45 ATTENDANCE AND AUDIENCE RESEARCH

* Cockatoo Island, Pier 2/3, Museum of Contemporary Art, Art Gallery of New South Wales, Artspace and the Sydney Opera House. (The Royal Botanic Gardens and the Online Venue, revolutionsonline, were not included in attendance ﬁgures.) ‘The 2008 Biennale of ** The 2006 Biennale recorded 316,811 visits. The 2004 Biennale recorded 281,351 visits. The 2002 Biennale recorded 245,394 visits. Attendance in 2008 was measured using the Sydney’s great innovation same methodology as used for the 2006, 2004 and 2002 events. Visitation is measured as ‘visits’ not ‘visitors’, as one person is that it does not attempt may make multiple visits to the exhibition. to elude the spectacle of intellectual and cultural Clockwise (from top left) William Kentridge tourism, endemic to What Will Come (Has Already Come), 2007 Installation view of the 16th Biennale of Sydney at Cockatoo Island its format. Rather, it Courtesy the artist; Marian Goodman Gallery, New York and Paris; Goodman Gallery, Johannesburg; embraces the sense and Annandale Galleries, Sydney Guests of sponsors JCDecaux take a guided tour at Cockatoo Island of adventure and the Visitors entering A Forest of Lines by Pierre Huyghe in the Concert Hall of the Sydney Opera House pleasure of knowledge Dora García What A Fucking Wonderful Audience, 2008 Performance for the 16th Biennale of Sydney central to tourism’s at the Museum of Contemporary Art Courtesy the artist and Ellen de Bruijne Projects, economy of desire and Amsterdam Guests enjoying the 16th Biennale of Sydney uses them as a platform to Artists’ and Supporters’ Party Shaun Gladwell STREET HAUNTING/GHOST RIDING/ORGAN, 2008 Installation view of the 16th Biennale of Sydney present an engaging but at Cockatoo Island Videography: Gotaro Uematsu Post-production: Josh Raymond critical exhibition.’ This project was assisted by the Sherman Contemporary Art Foundation Courtesy the artist and Anna Schwartz Gallery: Reuban Keehan, Art & Australia Sydney and Melbourne

44 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 45 MEDIA

57 per cent increase in media coverage Selected Coverage RADIO ABC News Radio, ABC Sydney 702, ABC Nationally there were signiﬁcant increases WITHIN AUSTRALIA in many media categories including: Triple J, 2GB, 2UE, 6PR Perth, ABC Hobart TELEVISION Breakfast, FBi, Koori Radio radio (438%), television (186%), free street ABC News (National), Channel 10 News press (140%), lifestyle magazines (125%), (Sydney), Channel 9 News (National), art publications (75%), online (53%), Sky News (National), Channel 10 Sydney INTERNATIONAL metropolitan news (51%) and regional news Weekender (Sydney), SBS News (National), TELEVISION (33%). Foxtel Music Maxx ‘The Know’ (National), BBC World News (UK), RI TV (Italy) Internationally there were signiﬁcant ABC Sunday Arts (National), ABC Four Corners increases in online (223%), news (70%) and NEWSPAPERS (National) and ABC Artscape (National) La Repubblica (Italy), Dutch Financial Times, lifestyle (50%) media coverage. NEWSPAPERS Il Sole 24 Ore (Italy), Dominion Post (New Zealand), New Zealand Herald, Daily News Media preview generated coverage before The Sydney Morning Herald (69 articles Mumbai (India), The Japan Times, Aftenposten exhibition opening over the 12-week exhibition period of (Norway) The Media Preview Day, attended by around the Biennale), Daily Telegraph and Sunday

100 media personnel, was held the day Telegraph (21 articles), The Australian (17 ART AND LIFESTYLE PUBLICATIONS prior to the public opening to facilitate articles), The Australian Financial Review, The ArtAsiaPaciﬁc, Frieze, Artforum, The Art opening day imagery, TV news coverage Courier-Mail (Brisbane), The Age (Melbourne), Newspaper, Flash Art, L’espresso (Italy), Time and advance access to fulﬁl media needs. The Canberra Times, The Adelaide Advertiser, Out Singapore, Travel + Culture Magazine Carolyn Christov-Bakargiev led the preview MX (Sydney), The Sun Herald (Sydney) (USA), C Arts (Indonesia), Art Investor to Pier 2/3, the Museum of Contemporary ART AND LIFESTYLE PUBLICATIONS (Germany), Beaux Arts Magazine (France), Art, Cockatoo Island, the Art Gallery of New Art & Australia, Art World, Australian Art Border Crossings (Canada), Modern Painters South Wales and Artspace. Thanks to the staff Monthly, Broadsheet, Artlink, Vogue Australia, (UK) of Imogen Corlette PR for their dedication Vogue Living Australia, The Monthly, Time and hard work. INFLIGHT MAGAZINES Out Sydney, Oyster Magazine, Australian Golf Virgin, Thai Airways Magazine RADIO INFLIGHT MAGAZINES BBC World Service (UK), New Zealand A selection of media coverage on the Qantas Domestic, Jetstar National Radio 16th Biennale of Sydney

46 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 47 MEDIA

46 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 47 MARKETING CAMPAIGN

Clockwise (from top left)

Posters on JCDecaux street furniture in the CBD

Banners on display in College Street

Biennale Hub at Customs House Square during Closing Week

Information point along the Vittoria Artwalk at Circular Quay West

Banners in Martin Place

Advertising in Artforum March edition

Signage at the Art Gallery of New South Wales

In 2008, the Biennale’s integrated marketing weeks. JCDecaux generously donated developed a new website that has recorded Biennale Hub was an information point and planning a trip to Sydney, the Friends Venue publicity and promotion significantly campaign provided invaluable exposure for approximately 180 placements each week. more than 163,000 unique visitors.* The social enclave membership program, the catalogue and contributed to campaign success the exhibition, events and our partners. A total of 13 information points were site provided information on artists, venues, Closing Week witnessed the inaugural Art Compass 2008 (a collaboration between The Biennale collaborated with venues to erected for the duration of the exhibition, events and visiting Sydney, as well as Biennale Hub at Customs House Square. By the Biennale of Sydney, Gwangju, Shanghai ensure a unified, consistent campaign and Highly visible outdoor campaign throughout eight along the Vittoria Biennale Artwalk and featuring a photo gallery with over 70 sets of day, the Hub functioned as an information and Singapore Biennales and the Yokohama message. Venues promoted the Biennale city and venues five on Cockatoo Island. The information images, a media centre, education resources, point where people could ask questions Triennale). through publicity, direct mailouts, brochures, The marketing campaign was led by the points detailed the venues, the free ferry 28 vodcasts and a blog. The site was easy to or pick up a free guide and a free Vittoria features and promotions on their websites, distinctive Revolutions – Forms That Turn service timetable, the Vittoria Biennale navigate, interactive and frequently updated coffee, and communicated to the high- Print advertising informed millions print advertising, and indoor and outdoor visual brand by Triggerdesign. The campaign Artwalk and highlighted a different key work to keep visitors informed and encourage volume pedestrian traffic that this was their A partnership with The Sydney Morning signage. continued with the public message first used from the exhibition on each point. This was them to make return visits. last chance to experience the 16th Biennale. Herald ensured an enhanced advertising in 2006: ‘A World of Art. Here. Now.’ the first time these information points were Since December 2007, a series of At night, the Hub became a social enclave presence in metropolitan Sydney. This Cross-promotions maximised awareness in The Biennale’s extensive outdoor used by the Biennale and they significantly e-newsletters have been sent to our 7600 where friends met, mingled and enjoyed was complemented by a competition in target markets marketing campaign ran over the three increased awareness of the exhibition among subscribers – a 50 per cent increase on nightly DJs programmed by Knowfoowl Friday’s Metro to win VIP packs containing a The Biennale arranged cross-promotions months of the exhibition, consisting of tourists and Sydneysiders at busy, strategic the number of subscribers in 2006. The Music. The Hub complemented the Vittoria Vernissage pass and Artists’ and Supporters’ with partners, sponsors and peer arts posters, banners and outdoor signage. locations at Circular Quay and in the Royal e-newsletters featured information on events Biennale Artwalk information points by Party pass. The national campaign included organisations, including Accessible Arts, In total, 152 banners were displayed in Botanic Gardens. and public programs, artists, venues and visibly promoting the exhibition along the advertising in The Weekend Australian, the Art Gallery of New South Wales, the City concentrated bursts on high-traffic streets Venue signage using the 2008 branding vodcasts, and encouraged visitation to the walking route. The Monthly, Time Out Sydney and several of Sydney, the Museum of Contemporary in the Central Business District of Sydney, was prominent on the exterior of website. arts publications. Early advertising in Art, Museums & Galleries NSW, National including Martin Place, George Street near Cockatoo Island, Pier 2/3, the Museum of The Biennale of Sydney also had a Advance information for art lovers international arts publications – Frieze, Association of the Visual Arts, The Sydney Town Hall, Macquarie Street, College Street Contemporary Art and the Art Gallery of Facebook page, a YouTube page with In June 2007, as a teaser for art lovers, Artforum and ArtAsiaPacific – allowed time Morning Herald and the Sydney and Hickson Road, Walsh Bay near venue New South Wales. 16 videos and appeared in numerous blogs 20,000 preview brochures were circulated for international visitors to plan their trip Opera House.

Pier 2/3. that all served to create an online buzz. at the Venice Biennale. In March 2008, 600 to Sydney. * As at 10 October 2008, the website has recorded 163,000 unique Large-scale posters were displayed on Enhanced website engaged visitors, utilising international and 650 Australian contacts visitors JCDecaux Citylight street furniture in the Web 2.0 and social networking received advance information by mail on CBD and inner suburbs for a total of four In partnership with SiteSuite, the Biennale the exhibition and events, the online venue,

48 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 49 MARKETING CAMPAIGN

Clockwise (from top left)

Posters on JCDecaux street furniture in the CBD

Banners on display in College Street

Biennale Hub at Customs House Square during Closing Week

Information point along the Vittoria Artwalk at Circular Quay West

Banners in Martin Place

Advertising in Artforum March edition

Signage at the Art Gallery of New South Wales

48 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 49 PARTNERS

The 2008 Biennale of Sydney was produced through a combination of cash and in-kind support. Thanks to all partners and supporters who helped to realise this ambitious exhibition.

Australian Government partners provided 30 Cultural Funding Agencies from 19 Our Founding Partner, Transﬁeld, international guests enjoyed the style, Ellison provided invaluable advice and Opposite (clockwise from top) Guests of sponsors JCDecaux enjoy a lunch at 38 per cent of the Biennale’s income countries also supported artists and projects celebrated a 35-year relationship in 2008. luxury and warmth of the Soﬁtel Sydney support, as did Egon Zehnder International Cockatoo Island

Consistent support from the Visual Arts Cultural Funding Agencies supported the As an outstanding and inspirational model Wentworth, who were again a fabulous and APP. Vittoria Co ee Cart at the Biennale Hub at Board of the Australia Council, Arts NSW creation and transport of artists’ works, of corporate philanthropy, this successful accommodation partnership. The spectacular Artists’ and Supporters’ Customs House Square during Closing Week and the City of Sydney allows the exhibition as well as artists’ travel to Sydney. This partnership was acknowledged by AbaF’s Vittoria Coffee increased its support in Party would not have been possible without Information point along the Vittoria Artwalk at Circular Quay and its programs to continue to be presented accounted for 19 per cent of the Biennale’s 2007 Goldman Sachs JBWere Philanthropy 2008 to become presenter of the Vittoria the support of Boag’s, Blue Pyrenees, Mojo Benefactors boarding the free ferry service outside free to the public. The renewal for a further income. Please refer to page 59 for a listing Leader of the Year Award. Biennale ArtWalk, Biennale Hub at Customs and Rock Bare, as well as Fratelli Fresh and the Museum of Contemporary Art on a preview four years of funding from the Visual Arts of International and Australian Cultural The generous support of The Balnaves House Square and Art Café on Cockatoo Simmer on the Bay. tour of the 16th Biennale of Sydney and Craft Strategy (VACS), an initiative of the Funding Agencies. Foundation made possible a free ferry Island. The Vittoria Biennale Artwalk was Art & Australia, our Arts Media Partner, This page: Passengers on the free ferry service to Australian, State and Territory Governments, service for the three-month duration of the an easy entry point for the general public to produced a wonderful issue with content Cockatoo Island has allowed the Biennale to consolidate Partners provided 24 per cent of the exhibition, which took just under 80,000 explore the artists and their works. Vittoria’s provided by Carolyn Christov-Bakargiev a more ambitious exhibition, improve Biennale’s income visitors to Cockatoo Island – enabling us to contribution also included the generous and several of the artists, including William the public program and publications, and The generous support of the Art Gallery consolidate our mandate to present a free supply of product for key events on Cockatoo Kentridge and Michael Rakowitz. present the works of artists who may have of New South Wales, the Museum of exhibition to the broadest possible audience. Island and at the Biennale Hub. The Biennale also thanks its in-kind no access to government or cultural funding Contemporary Art and the Sydney Harbour International Art Services (IAS) deserves Advertising, marketing and web-based supporters whose generosity made particular support. Most importantly, VACS provides Federation Trust allowed the Biennale of a special mention for delivering art from opportunities received a boost through key elements of the 2008 exhibition possible: the Biennale a base from which to plan Sydney to present an expansive exhibition. dozens of cities around the globe to our partnerships with JCDecaux, The Sydney Look Print, Reliance Security, Reliance for the future and the security to develop Corporate support also played a vital role venues – and, in particular, to Cockatoo Morning Herald, SiteSuite and adikted.tv. Cleaning and Valiant Hire. the organisation and event with renewed in realising the exhibition. Many of the Island. Etihad Airways Crystal Cargo Joining the Biennale as new partners in purpose. ambitious artists’ projects were made possible transported artworks from key locations 2008 were MONA – Museum of Old and Over 100 art lovers directly supported the In 2008, a special grant from Arts NSW by generous support from an impressive around the world, working closely with New Art and Bulgari. Renewing partners Biennale as Ambassadors and Benefactors assisted in establishing Cockatoo Island as league of enlightened corporate sponsors IAS. Etihad also presented our Vernissage included the Anita and Luca Belgiorno- The advocacy and patronage of our a viable venue. who, aside from ﬁnancial contributions, (Professional Preview Day), which was Nettis Foundation and UBS Wealth Ambassadors and Benefactors directly provided much-needed professional expertise enjoyed by more than 5000 people. Management Australia. supports the Biennale’s signiﬁcant and project assistance. Visiting artists and national and PricewaterhouseCoopers and Minter contribution to art and culture. Donations

50 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 51 PARTNERS

The 2008 Biennale of Sydney was produced through a combination of cash and in-kind support. Thanks to all partners and supporters who helped to realise this ambitious exhibition.

50 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 51 REVENUE

3% Australian Government Partners

16%REVENUE Corporate Partners and Venues International and Australian Cultural Funding Agencies 38% Benefactors, Patrons and Friends 19% REVENUE Other Revenue 3% 24% Australian Government Partners

16% Corporate Partners and Venues

International and Australian Cultural Funding Agencies 3% 38% Benefactors, Patrons and Friends 19% Australian Government Partners Other Revenue 16%REVENUEEXPENDITURE Corporate Partners and Venues 24% International and Australian Cultural Funding Agencies 38% REVENUE AND EXPENDITURE Benefactors, Patrons and Friends 19% Other Revenue

3% 24% Exhibition, Events and Programs from Ambassadors and Benefactors increased individuals from around the world. Revenue 6% Australian Government Partners ‘It was a tour-de-force.’ th three-fold on 2006 contributions. Please refer to page 58 for a listing of 16 Biennale 10% Staff Costs Events in 2007 and 2008 connected Project Patrons. Max Delany, Frieze Revenue includes both in-kind and cash support 16% EXPENDITURE Corporate Partners and Venues supporters with Artistic Director Carolyn Marketing and Development Christov-Bakargiev in the planning stages 88 art lovers became Friends of the Biennale International and Australian Cultural Funding Agencies of the exhibition, as well as with visiting giving them access to exclusive events 18% 38% Administration international artists and VIPs. In 2007, for throughout the Opening Week 66% Benefactors, Patrons and Friends the first time and to coincide with the media The Friends membership package offered 19% launch of the 2008 Biennale of Sydney at a copy of the exhibition catalogue, double Other Revenue the Venice Biennale, special events were invitations to the Vernissage preview day and EXPENDITURE organised in Italy for our supporters, the Artists’ and Supporters’ Party, as well as a Exhibition, Events and Programs including a cocktail reception, a mystery tour special Friends’ Briefing in Opening Week. 24%6% of highlights at the Venice Biennale led by Special packages were extended to the 10% Staff Costs Carolyn Christov-Bakargiev and a tour to visual arts community to allow museums, the extraordinary Castello di Rivoli in Turin, institutions and commercial galleries to Marketing and Development where Christov-Bakargiev is Chief Curator. provide opportunities for staff and members The 2008 Opening Week program for to join in the 2008 Biennale Opening Week 18% THAdministrationTH Expenditure REVENUE GROWTH 13Exhibition TO, Events 16 and BOS Programs Ambassadors and Benefactors included and for networking within the arts industry. th 16 Biennale 6% 66% exclusive previews, private tours, formal 10% Staff Costs receptions, artist-hosting events, exhibition The Biennale of Sydney operates on launches, performances and artists’ talks. a two-year budget cycle and regular EXPENDITURE Marketing and Development Please refer to page 58 for a listing of comprehensive reports are provided to Ambassadors and Benefactors. the Board of Directors. Accounts are fully 1618%th Administration audited by PricewaterhouseCoopers annually 66% 22 Project Patrons supported major projects and a financial statement is submitted to 15th Many challenging projects could not have the Australian Securities and Investment been realised without the generosity and Corporation. 14th support of a range of organisations and TH TH REVENUE GROWTH 13Exhibition TO, Events 16 and BOS Programs 13th 6% 10% Staff Costs

Revenue Growth 0 $1.0 M $2.0 M $3.0 M $4.0 M $5.0 MMarketing$6.0 M and $7.0Development M $8.0 M 13th to 16th Biennale th 1618% REVENUE GROWTH 13THAdministration TO 16TH BOS 66% 15th

Opening week celebrations at the Art Gallery of th New South Wales 14

16th13th

15th 0 $1.0 M PRIVATE$2.0 M $3.0 GIVING M $4.0 M 13TH$5.0 M TO$6.0 16THM $7.0 MBOS$8.0 M 14th REVENUE GROWTH 13TH TO 16TH BOS th Private Giving 13 13th to 16th Biennale 16th 0 $1.0 M $2.0 M $3.0 M $4.0 M $5.0 M $6.0 M $7.0 M $8.0 M 15th 16th 14th 15th PRIVATE GIVING 13TH TO 16TH BOS 13th 14th

13th0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M

16th 0 $1.0 M PRIVATE$2.0 M $3.0 GIVING M $4.0 M 13TH$5.0 M TO$6.0 16THM $7.0 MBOS$8.0 M Note: All gures are in AUD and based on forecast results15 forth 2007–08 as at 24 November 2008

th 52 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 14 53

16th13th

15th 0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M 14th PRIVATE GIVING 13TH TO 16TH BOS 13th

0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M

16th

15th

14th

13th

0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M REVENUE

3% Australian Government Partners

16%REVENUE Corporate Partners and Venues International and Australian Cultural Funding Agencies 38% Benefactors, Patrons and Friends 19% REVENUE Other Revenue 3% 24% Australian Government Partners

16% Corporate Partners and Venues

Revenue Growth 0 $1.0 M $2.0 M $3.0 M $4.0 M $5.0 MMarketing$6.0 M and $7.0Development M $8.0 M 13th to 16th Biennale th 1618% REVENUE GROWTH 13THAdministration TO 16TH BOS 66% 15th

Opening week celebrations at the Art Gallery of th New South Wales 14

16th13th

13th0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M

16th 0 $1.0 M PRIVATE$2.0 M $3.0 GIVING M $4.0 M 13TH$5.0 M TO$6.0 16THM $7.0 MBOS$8.0 M Note: All gures are in AUD and based on forecast results15 forth 2007–08 as at 24 November 2008

th 52 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 14 53

16th13th

15th 0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M 14th PRIVATE GIVING 13TH TO 16TH BOS 13th

0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M

16th

15th

14th

13th

0 $0.2 M $0.4 M $0.6 M $0.8 M $1.0 M $1.2 M $1.4 M ARTISTS COMRADES AND GUESTS

ARTIST CAME TO SYDNEY/ATTENDED THE BIENNALE

MADE NEW WORK

Jerry Abrams Rodney Graham Michael Rakowitz Dora García Curatorial Comrades Vernon Ah Kee Anawana Haloba Stuart Ringholt Shaun Gladwell Iara Boubnova, Curator, Institute of Contemporary Art, Soﬁa, Bulgaria - aiPotu Rebecca Horn Aleksandr Rodchenko Anawana Haloba Natasha Conland, Curator, Auckland Art Gallery Toi o Tamaki, New Zealand Allora & Calzadilla Pierre Huyghe Julie Rrap Lucas Ihlein Liam Gillick, 2008 Biennale artist and teacher at Columbia University, New York Francis Alÿs Joan Jonas Luigi Russolo Chris Joseph & Kate Pullinger Massimiliano Gioni, New Museum, New York Ayreen Anastas and Rene Brian Jungen Natascha Sadr Haghighian Brian Jungen Raimundas Malašauskas, Curator, CCA Wattis Institute for Contemporary Arts, San Francisco Gabri Ranbir Kaleka Sharmila Samant Seong-youn Kim Jessica Morgan, Curator, Tate Modern, London James Angus Mary Kelly Hans Schabus Anastasia Klose Hans Ulrich Obrist, Co-Director, Exhibitions and Programmes & Director, International Projects, Serpentine Gallery, London Ibon Aranberri William Kentridge Carolee Schneemann Jaroslaw Kujda, Mariusz Jura and Hetti Perkins, Curator, Aboriginal and Torres Strait Islander Art, Art Gallery of New South Wales Micol Assaël Yves Klein Tony Schwensen Agnieszka Kujda Russell Storer, Curator, Contemporary Asian Art, Queensland Art Gallery | Gallery of Modern Art Atelier Bow-Wow and Dan Jannis Kounellis Robert Smithson I-Chen Kuo Kathryn Smith, University of Stellenbosch, South Africa Graham Mick Kubarrku Michael Snow Long March Project Jane Taylor, Wits School of Arts, University of the Witwatersrand, South Africa Pedro Barateiro Bari Kumar Nedko Solakov Archie Moore Kelly Barrie Jin Kurashige Jesús Rafael Soto TV Moore Ofﬁcial Guests Thomas Bayrle Marcellvs L. Vivan Sundaram Ahmet Ögüt Garland E. Allen, Washington University, St. Louis Richard Bell Rosemary Laing Emily Sundblad Dan Perjovschi Tyler Cann, Curator, Len Lye Collection, New Zealand - Hans Bellmer Richard Larter Atsuko Tanaka Lia Perjovschi Natasha Conland, Curator, Auckland Art Gallery Toi o Tamaki, New Zealand Gordon Bennett Tim Lee Javier Téllez Susan Philipsz Dr Wystan Curnow, University of Auckland, New Zealand Tamy Ben-Tor Klara Liden theweathergroup_U Ana Prvacki Roberto Dipasquale, Head of Installation, Castello di Rivoli, Turin Lene Berg Renata Lucas Miroslav Tichý Michael Rakowitz Manray Hsu, Curator, 2008 Taipei Biennial, Taiwan Joseph Beuys Adolf Luther Slavko Tihec Stuart Ringholt Raimundas Malašauskas, CCA Wattis Institute for Contemporary Arts, San Francisco Thomas Bock Len Lye Jean Tinguely Tony Schwensen Johan Pijnappel, art historian and curator Mark Boulos Tommy McRae Tommy Trantino Gregory Shakar Kathryn Smith, University of Stellenbosch, South Africa Christoph Büchel Anna Maria Maiolino Viktor Vasarely Nedko Solakov Professor Michael Taussig, Columbia University, New York Chris Burden Nalini Malani Clemens von Wedemeyer SquatSpace Ainsley Walton, National Gallery of Canada, Ottawa Gerard Byrne Kasimir Malevich Peter Watkins Stanza Scott Watson, Director, Morris and Helen Belkin Art Gallery, University of British Columbia, Canada John Cage Man Ray Lawrence Weiner Vibeke Tandberg Evan Webb, Director, Len Lye Foundation, New Zealand Alexander Calder Piero Manzoni Gil Joseph Wolman Luca Trevisani Janet Cardiff & George Bures Gordon Matta-Clark UBERMORGEN.COM Visiting Journalists Miller David Medalla UBERMORGEN.COM, Gabi Scardi, Il Sole 24 Ore, Italy Agustín Víctor Casasola Mario Merz and Marisa Merz Online Venue Artists PAOLO CIRIO, ALESSANDRO Achille Bonito Oliva, La Repubblica, Italy Maurizio Cattelan Mario Merz 5VOLTCORE/Emanuel Andel, LUDOVICO Paul Chan Darius Mikšys Christian Gützer Steve Van den Bosch Emerging Curators Program Chen Xiaoyun Tina Modotti aiPotu/Parfyme Richard Vickers Northern Territory Gianni Colombo Tracey Moffatt and Gary Pedro Barateiro Robert Willim & Anders Weberg Siying Zhou, Program Manager, 24HR Art, NT Centre for Contemporary Art Attila Csörgo´´ Hillberg Christopher Bennie Destiny Deacon and László Moholy-Nagy Tamy Ben-Tor Queensland Virginia Fraser TV Moore Mark Boulos David Burnett, Curator, International Art, Queensland Art Gallery | Gallery of Modern Art Guy Debord Reinhard Mucha Christophe Bruno Jeremy Deller Saburo Murakami Barbara Campbell Victoria Simon Denny Doreen Reid Nakamarra Janet Cardiff Simon Maidment, Director, Satellite Art Projects Mark Dion Bruce Nauman Paul Chan Brendan Lee, Artist and Freelance Curator Emory Douglas Hélio Oiticica and Neville Damp with Kresna Cameron, Mark Feary, Program Coordinator, West Space Marcel Duchamp D’Almeida Chad Creighton, Moses Gibson, Ulanda Blair, Artistic Program Manager, Next Wave Sam Durant Yoko Ono Nicole Foreshew, Nadia Itaywi, Olafur Eliasson Raquel Ormella Glen Pilkington, Marika Smith Western Australia VALIE EXPORT Giulio Paolini and Christian Thompson Robert Cook, Associate Curator of Contemporary Art, Art Gallery of Western Australia Geoffrey Farmer Cornelia Parker Caroline Delieutraz & Albertine Harun Farocki and Andrei Ujica Mike Parr Meunier Lara Favaretto Giuseppe Penone Jeremy Deller León Ferrari Dan Perjovschi Ben Dierckx Yevgeniy Fiks Lia Perjovschi Sam Durant Peter Fischli / David Weiss Georgy Petrusov et al. Claire Fontaine Paul Pfeiffer Matias Faldbakken Ryan Gander Susan Philipsz Family Filter: Jonah Brucker- Dora García Giuseppe Pinot-Gallizio Cohen, Tim Redfern and Duncan Ross Gibson Adrian Piper Murphy Simryn Gill Michelangelo Pistoletto Geoffrey Farmer Liam Gillick Ana Prvacki Yevgeniy Fiks Shaun Gladwell Pushwagner Claire Fontaine Dan Graham Qiu Anxiong Jenny Fraser

54 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 55 ARTISTS COMRADES AND GUESTS

ARTIST CAME TO SYDNEY/ATTENDED THE BIENNALE

MADE NEW WORK

54 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 55 BOARD AND STAFF CREW, INTERNS AND VOLUNTEERS

BOARD OF THE BIENNALE OF SYDNEY STAFF OF THE BIENNALE OF SYDNEY Alana Adye, Lucy Ainsworth, Pam Aitken, Nikki Akbar, Hatice Akgul, Vashti Ali, Gokcen Altinok, Gulsen Altinok, Kate Anderson Cottam, Rohana Archer, Jenny Armas, Jacqueline Au, Jenny Au, Jessica Azzi, Luca Belgiorno-Nettis, Chairman Marah Braye Richard Harrison Florie Baelen, Kate Bakas, Helen Baker, Tiyan Baker, Amy Bambach, Tatiana Barisa, Jessica Barnes, Andrew Cameron, Deputy Chair Chief Executive Officer Installation Coordinator Carol Barroso-Pinto, Bronwen Bassett, Caspah Batchelor, Alice Beasley, Heike Beelert, Danielle Bennett, Ari Droga, Deputy Chair Helen Berkemeier, Mariana Bertelli Pagotto, Carly Bertuccio, Duygu Beykal, Kate Blackmore, Naomi Anthony Bertini Carolyn Christov-Bakargiev Annie Laerkesen Blyth, Michael Bogle, Isabel Bossart, Phoebe Boyle, Levon Brooderlow, Kate Brown, Justin Buchta, Angela Clark 2008 Artistic Director Installation Coordinator Khara Burgess, Julia Burns, Keiran Burns, Jessica Bury, Charles Butler-Bowden, Carmel Byrne, Sophie John Kaldor AM (until August 2008) Byrne, Joel Calizaya, Justin Cases, Tarek Chamie, Jacqueline Chan, Serena Chan, Joanne Chang, Nathaly Phillip Keir Katrina Pym Rachael Kiang Charria, Sophia Chen, Jean-Christophe Chevalier, Kris Chi, Magdalene Chircher, Anita Chisholm, Charles Amanda Love Exhibition Manager Registration Assistant and Support Venue Christian, Sarah Clutterbuck, Dianne Cohen, Jonathan Cole, Emily Collins, Claire Conroy, Adam Coom, Michael Whitworth Manager Katy Coote, Michelle Cox, Annalice Creighton, Mitchell Cross, Emma Crott, Agata Czajka, Farokh Rookie William Cottam Daneshgar, Joanne D’Antonio, Alacoque Dash, Alexandra Daum, Julia Davies, Sarah Davies, Mariana de Finance and Administration Manager Nisa Mackie Souza, Enrique del Val, Laetitia Delzenne, Tristan Deratz, Parris Dewhurst, Sevak Dilanchian, Sandra Administration Assistant Di Palma, Alissa Maree Dinallo, Maz Dixon, Sandra Dodds, Lauren Dornau, Suzi Dougherty, Catherine Sophie Forbat Dyhin, Greta Edmondson, Suzie Edwards, Berri Eggert, Marya Elimelakh, Meghan Ellis, Sarah Eyles, Emily Curatorial Research and Publications Melissa Ratliff Falkiner, Danielle Felix, Claire Fenner, Janna Ferraro, Anastasia Flanagan, Nicholas Forrest, Cameron Manager Research Assistant Foster, Carissa Gadil, Melissa Gamvros, Michelle Genders, Sebastian Goldspink, Hannah Gordon, Allison Goudie, Anna Gray, Daniel Green, Alexander Greene, Thomas Guichard, Valerie Guillemat Watzlawick, Terry Harding Kate Smith Haroula Hadjinicolaou, Merilyn Hall, Paul Haller, Gail Hamilton, Janet Han, Julee Han, Tarryn Handcock, Development and Marketing Manager Exhibition Assistant and Venue Manager Kate Hardman, Ruth Hartono, Michael Hender, Catherine Henkes, Georgia Herbert, Ellen Hernandez, (until September 2008) Edwina Hill, Katrina Hill, Lauren Hill, Gabriella Hirst, Chris Hodgson, Clare Holland, Elyse Horan, Phillipa Heather Taylor Horner, Jane Hosking, Sahar Hosseinabadi, Lucy Howard, Zoe Hudson, Amanda Hurst, Sun-Young Dr Dougal Phillips Administration Assistant Hwang, Chana Imsirovic, Mirna Indra, Felicity Isles, Sarah-Leith Izzard, Karan Jain, Lisa Jakab, JaeMoon Public Program and Education Manager Jang, Chris Jansen, Anthony Jenkins, Sam Johnson, Sara Jones, Nathalie (Margaux) Jouenne, Hye Min Loren Wilson Kang, Jenna Kapaun, Aaron Keirnan, Ainsley Kelly, Jennifer Kennedy, Irnin Khan, Rachael Kiang, Garth Jeremy Smith Development and Marketing Assistant Knight, Seung Won Kim, Yu Ran Kim, Alanna King, Eloise Kirk, Sarah Kirk, Jessica Klingelfuss, Young Joo Philanthropy Manager (from August 2008) Ko, Jacqueline Kofsky, Hannah Kothe, Litsa Kouzoumis, Kyong-In Kwon, Vivian Lai, Alexandra Lalak, Eve Gina Fairley Lalor, Sarah Langdon, Jacqueline Larcombe, Emily Lau, Gerald Lee, Julia Lee, Lisa Hyungi Lee, Shinae Tehmi Sukhla Registration Lee, Lucy Leech, Mimi Leith, Katie Lenanton, Carla Liesch, Veronica Lilley, Amy Lin, Susan Liu, Michelle Marketing and Sponsorship Manager Loa Kum Cheung, Sarah Lonsdale, Raelene Loong, Danielle Lumanta, Marco Lunny, Margaux Lushing, (from September 2008) Sarah Mosca Peter McCarron, Kelly McDonald, Carolyn McKay, Kylie McKendry, Leigh MacRitchie, Carlo Macri, Diana Venue Manager Mafra, Jeanette Maher, Brahm Maira, Genesis Mansilongan, Sam Manning, Christina Maras, Giovanna Robyn Buchanan Marelli, Nikolina Marinovic, Aaron Matheson, Cass Matthews, Barbara Menhart, Lauren Mihaljek, Tasman Web Coordinator Lisa Corsi Miller, David Mills, Bridget Minatel, Maryam Miri, Maureen Mitchell, Michael Moebus, Golnaz Mojtahedi, Public Programs Helen Mok, Anna Montemayor, Diego Mora, Giles Morgan, Stuart Morris, Wendy Mortimer, Sarah Mosca, Phoebe Dougall Edith Moss, Hugo Muecke, Emily Mulvihill, Niamh Murray, Kathie Najar, Susan (Susie) Nelson, Ella Development Coordinator Danielle Hairs Neville, Mark Newland, Keziah Ng, Luke Nguyen, Nhu Thao Nguyen, Kara Nissen, Gemma O’Brien, Marg Publications Assistant and Support Venue O’Donnell, Paul Ogier, Lea Olea, Edith Olivares, Jesslynn Ooi, Joanna Osborn, Mary Osborn, Meeghan Amy Thompson Manager O’Shea, Emilie Owens, Del Paech, Jessica Page, Baden Pailthorpe, Georgia Pan, Luyu Pang, Kate Panzetta, Administration Coordinator Julia Park, Margaret Park, Claire Parken, Olivia Patchett, Heather Paterson, Rachel Peacock, Rosealee Brad Hatfield Pearson, Amy-Nicole Peters, Anda Petrapsch, Lauren Pitcher, Athena Politis, Ian Preston, Katherine Preston, Peter Tilley Bookings Eleanor (Lione) Pullinen, Taryn Raffan, Sean Rafferty, Jaan Ranniko, Chris Raymond, Lucy Rees, Junn- Exhibition Coordinator and Registrar Daniel Reforma, Saskia Reijners, Maud Richardot, Carla Rivas, Eve Roberts, James Roberts, Kate Robertson, Anna Radaelli Alexander Robinson, Elizabeth Robinson, Carmen Roche, Sabrina Roesner, Drieli Roveda, Leigh Russell, Clare Willcox Support Venue Manager Nikola Ruttkay, Nicholas Ryan, Melissa Salvatore, Lisa Sammut, Georgina Sandercock, Emily Sandrussi, Marketing Coordinator Mami Sato, Katherine Saunders, Chloe Schneider, Dominique Serisier, Meghan Shaunnessy, Soumya Shetty, Bronwyn Short, Yani Silvana, Maia Sinclair-Ferguson, James Singline, Sam Sinnayah, Eleanor Melissa Hamilton Smith, Vanessa Smyth, Alan Spackman, Robert Sparshott, Renata Stadler, Amy Stansfield, Caroline Steinke, Volunteer Coordinator Rohan Stephens, Oksana Steplyuk, Josie Stoman, Luke Strevens, Shan Sun, Keiko Suzuki, Teresa Tan, Jenna Tapia, Claire Taylor, Erin Teale, Michelle Tear, Gregg Telian, Frank Ter Meulen, Susan Thomas, Emma Thomson, Szuszy Timar, Mia Timpano, Jessica Tong, Amy Towers, Eva Trust, Sonia Tsai, Libby Tulip, Gillian Turner, Bianca van Rangelrooy, Raymonde Van Santen, Clare Veal, Sam Villalobos, Maria Voelkel, Sophie Wade, Rhianna Walcott, Marguerite Walsh, Alan Wang, Shan Wang, Ying Wang, Lindsay Washington, Marleen Wegereef, Moritz Wehrmann, Anya Weimann, Yichi Weng, Sarah Werkmeister, Vanessa White, Andrew Wiles, Dot Wilkin, Robert Williams, Kate Williamson, Mareike Wolf, Carmen Wong, Clara Wong, Melissa Wong, Ceren Yilmaz, Bec Young, Amy Yu, Massimiliano Zaccone, Karen Zhan, Zixuan Zhang, Zhi Yuan Zhang, Weller Zheng, JenJun Zhu, Alexandra Zsiros.

56 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 57 BOARD AND STAFF CREW, INTERNS AND VOLUNTEERS

56 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 57 SUPPORTERS CULTURAL FUNDING

Benefactors Project Patrons and Supporters The Biennale of Ari and Lisa Droga Amici Sostenitori del Castello di Rivoli, Turin The Biennale of Sydney is pleased to acknowledge the generous support Robert and Annabelle Hansen Anonymous Sydney thanks all our The Balnaves Foundation Bligh Voller Nield Architecture, Sydney of the following participating governments and organisations that have generous supporters Boers-Li Gallery, Beijing assisted in the presentation of the exhibition Lisa and Egil Paulsen Bose Pacia Gallery, New York Simpsons Solicitors Blum & Poe, Los Angeles Ginny and Leslie Green Andrew and Cathy Cameron Founding Governor Colin and Elizabeth Laverty Dena Foundation for Contemporary Art Franco Belgiorno-Nettis AC CBE Ezekiel Solomon The Ellipse Foundation – Contemporary Art Collection, Portugal Ambassadors Claire Armstrong and John Sharpe Farrell Family Foundation Amina Belgiorno-Nettis Art World Magazine John Kaldor AM and Naomi Milgrom Kaldor Luca and Anita Belgiorno-Nettis Andrew and Andrea Banks Keir Foundation Anthony Bertini David Leach and Tony Kenny Andrew and Cathy Cameron Martin Browne Marian Goodman Gallery, New York and Kingsley, Robyn, Jeremy, Donna and Chris Richard and Anne Campbell Paris Mundey Mark and Tanya Carnegie Mizuma Art Gallery, Tokyo Geoff and Vicki Ainsworth Anne-Marie and Tim Casey Porter’s Paints Chartwell Trust Anna Schwartz The Arcus Foundation Angela Clark Sherman Contemporary Art Foundation Phillip Keir and Sarah Benjamin Robin Crawford and Judy Joye The Project, New York Ivan and Karel Wheen Helen Eager and Christopher Hodges Thyssen-Bornemisza Art Contemporary, Michael Whitworth and Dr Candice Bruce Luke Fildes Vienna Rick and Jan Frolich Viglietta Matteo Spa Jenny Gibbs Yvon Lambert, Paris and New York Lisa and Danny Goldberg GRANTPIRRIE With support also from Julian and Stephanie Grose Bodhi Art, Mumbai Greg Hargrave Catriona Jeffries Gallery, Vancouver Mike and Jill Hawker Trevor and Carole Chappell Jane and Simon Hayman Penny Clive Hal Herron Galería Juana de Aizpuru, Madrid Dr Ian Hill and Morna Seres Hauser and Wirth, Zurich Sharon and Peter Ivany AO Lisson Gallery, London David and Angela Kent Lumens Arte, Sydney Julian and Lizanne Knights The Hon Justice Michael Moore David and Megan Laidlaw Mori Gallery, Sydney Ann Lewis AM Rent-A-Garden, Terrey Hills Dayle Mace Salon 94, New York JAPAN Robyn and Mitchel Martin-Weber The Technical Direction Company of Odetta Medich Australia, Sydney Jan Minchin Tolarno Galleries, Melbourne Mark and Louise Nelson Dr Clinton Ng Mizuma Art Gallery, Tokyo Lindsay Powers and Michèle Asprey Ian Oatley Dr Dick Quan Tony and Josephine Sukkar Reg and Sally Richardson Guido and Michelle Belgiorno-Nettis Penelope Seidler Jennifer Stafford and Jonathan Nicholson Miriam and Les Stein Tony and Josephine Sukkar Irene Sutton Thames & Hudson Australia Lucy Turnbull Rachel Verghis Roslyn Weiley Ray Wilson OAM

The participation of U.S. artists in the Biennale of Sydney is made possible by support from the Bureau of Educational and Cultural A airs of the U.S. Department of State.

58 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 59 SUPPORTERS CULTURAL FUNDING

The participation of U.S. artists in the Biennale of Sydney is made possible by support from the Bureau of Educational and Cultural A airs of the U.S. Department of State.

58 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 59 PHOTOGRAPH CREDITS

Angela Armstrong, p. 44 (top, middle right)

Pat Armstrong, pp. 42 (top), 43 (left: top and bottom), 48 (all images), 49 (top right, bottom right)

Jenni Carter, pp. 15, 16 (top left, middle left), 17 (top), 18, 19 (top left, bottom right), 20 (top right), 21, 22 (top left), 23 (all images), 24 (bottom), 26, 27 (bottom right), 28 (middle right), 32 (top left), 33 (all images)

Paul Green, cover/back cover, pp. 30–31 (top)

Terry Harding, pp. 40 (top right), 52

Brad Hat eld, p. 41

Edith Moss, p. 49 (top left, top middle)

Leo Nguyen, p.49 (bottom left)

Dougal Phillips, pp. 30 (bottom left), 38 (top right), 39 (all images), 43 (top right, middle right, bottom right), 45 (bottom left)

Ben Symons, cover/back cover, pp. 2, 4, 5, 11, 13, 16 (middle right), 19 (middle left), 20 (bottom left), 22 (bottom left), 24 (top left, top right), 25 (all images), 27 (top left, middle left, bottom left), 28 (top, bottom left), 32 (bottom right), 34–35, 36, 37 (middle, bottom), 38 (bottom right), 44 (middle left)

Heather Taylor, pp. 40 (bottom right, bottom left), 45 (bottom right)

Mark Tedeschi, p. 38 (top left)

Greg Weight, pp. 6–7, 8–9, 16 (bottom left), 17 (bottom), 19 (top right), 20 (top left), 22 (middle right), 31 (bottom right, bottom left), 37 (top), 44 (bottom)

Clare Willcox, pp. 50 (bottom middle, bottom right), 51

Biennale of Sydney 43–51 Cowper Wharf Road Woolloomooloo NSW 2011 T +61 (0)2 9368 1411 F +61 (0)2 9368 1617 E [email protected] www.biennaleofsydney.com.au www.bos2008.com

Copyright © 2008 the Biennale of Sydney Ltd. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system, without prior permission in writing from the publisher.

Every attempt has been made to contact copyright holders of the extracts and images reproduced in this publication.

60 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 61 PHOTOGRAPH CREDITS

Angela Armstrong, p. 44 (top, middle right)

Pat Armstrong, pp. 42 (top), 43 (left: top and bottom), 48 (all images), 49 (top right, bottom right)

Paul Green, cover/back cover, pp. 30–31 (top)

Terry Harding, pp. 40 (top right), 52

Brad Hat eld, p. 41

Edith Moss, p. 49 (top left, top middle)

Leo Nguyen, p.49 (bottom left)

Dougal Phillips, pp. 30 (bottom left), 38 (top right), 39 (all images), 43 (top right, middle right, bottom right), 45 (bottom left)

Heather Taylor, pp. 40 (bottom right, bottom left), 45 (bottom right)

Mark Tedeschi, p. 38 (top left)

Greg Weight, pp. 6–7, 8–9, 16 (bottom left), 17 (bottom), 19 (top right), 20 (top left), 22 (middle right), 31 (bottom right, bottom left), 37 (top), 44 (bottom)

Clare Willcox, pp. 50 (bottom middle, bottom right), 51

Biennale of Sydney 43–51 Cowper Wharf Road Woolloomooloo NSW 2011 T +61 (0)2 9368 1411 F +61 (0)2 9368 1617 E [email protected] www.biennaleofsydney.com.au www.bos2008.com

Every attempt has been made to contact copyright holders of the extracts and images reproduced in this publication.

60 2008 BIENNALE OF SYDNEY REPORT 2008 BIENNALE OF SYDNEY REPORT 61 16

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Biennale of Sydney www. B iennaleof S 16 Biennale of Sydney RepoRt

17th Biennale of Sydney ydney.co M .au 16th Biennale of Sydney 12 May – 1 auguSt 2010 www.biennaleofsydney.com.au17th Biennale of Sydney RepoRt 12 May – 1 auguSt 2010 www.biennaleofsydney.com.au