Biennale Of Sydney

Biennale of Sydney job opportunity!
The Biennale of Sydney is seeking a highly skilled Partnerships Manager who will be responsible for developing and managing relations with the Biennale’s corporate partners.
Applications close 5pm, Monday 15 October 2018
... See our website for the Information Package www.biennaleofsydney.art/about-us/
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Pick up a copy of @artlink_magazine September Issue, ‘Human Flow’, featuring Ai Weiwei’s ‘Law of the Journey’ for the 21st Biennale of Sydney!
“This issue responds to ideas of human flow, trade and transit in the information age, and the role of artists as social agents, antagonists and radicants”. #biennaleofsydney #aiweiwei

Don’t miss 20th Biennale of Sydney artists' Cécile B. Evans and Korakrit Arunanondchai now showing @artspacesydney as part of THE PUBLIC BODY .03.
Cécile’s practice explores the intersection between the online world and our physical reality. Korakrit’s pastiche of styles and mediums celebrates the blurring of fantasy and reality, science and incorporeality, art and life. ~ Cécile B. Evans, ‘Hyperlinks or It Didn't Happen’, 2014, HD video, loose images, 22:30 mins. Animation a...nd effects: Tom Kemp. Animation for PHIL: Jono Symmonds. 3D model for PHIL: Hossein Diba. 3D renders: Andres Parody. Rendering: RenderFarm NL. Music: Mati Gavriel . Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Photograph: Ben Symon. Courtesy the artist and Barbara Seiler, Zürich. Supported by the Arts Council of England ~ Korakrit Arunanondchai, ‘Painting with history in a room filled with people with funny names 3’, 2015–16, HD video, denim, foam, wood, 24:55 mins. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Photograph: Ben Symons. Courtesy the artist; C L E A R I N G, New York and Brussels; and Carlos/Ishikawa, London. This version was created for the 20th Biennale of Sydney. This project was made possible with assistance from Dr Clinton Ng #thepublicbody #biennaleofsydney
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Influenced by the work of artists such as Ian Burn, Mel Ramsden and Jenny Holzer, and the films of Claude Lanzmann, 'Untitled wall drawing' attends to some of the many trajectories of twentieth-century history, with a recurring focus on the narratives of colonisation that often govern boundary-making and continue to shape the contemporary world. ~ Tom Nicholson, 'Untitled wall drawing', 2009–18 (detail), pencil wall drawing, dimensions variable. Drawing realised with assistance from Ernest Aaron and Lauren Burrow. Collection of the Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2013. Installation view of the 21st Biennale of Sydney (2018) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley. Courtesy the artist https://ift.tt/2BgPgtb

Tom Nicholson has described his work 'Untitled wall drawing', 2009–18 as ‘an attempt to address how words bear memory: the slowness of words (as they accumulate in us as we accumulate their meanings), their economy (the capacity of words to describe across vast stretches of time and space), and a kind of withdrawal (where words would describe a dispassionate even bureaucratic relation to the world they name). ~ Tom Nicholson, 'Untitled wall drawing', 2009–18, pencil wall draw...ing, dimensions variable. Drawing realised with assistance from Ernest Aaron and Lauren Burrow. Collection of the Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2013. Installation view of the 21st Biennale of Sydney (2018) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley. Courtesy the artist https://ift.tt/2KSFvRi
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Part of the @MCA_Australia Collection, Tom Nicholson's 'Untitled wall drawing', 2009–18, exhibited as part of the recent 21st #BiennaleofSydney, is a chronological list, handwritten in pencil on the gallery wall, documenting instances of the creation of national boundaries since Australian Federation in 1901. ~ Tom Nicholson, 'Untitled wall drawing', 2009–18 (detail), pencil wall drawing, dimensions variable. Drawing realised with assistance from Ernest Aaron and Lauren Burrow. Collection of the Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2013. Installation view of the 21st Biennale of Sydney (2018) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley. Courtesy the artist https://ift.tt/2MJAzA1

Congregating at Sydney Town Hall, participants in Akira Takayama's 21st #BiennaleofSydney project were welcomed one by one to walk to the stage along a specially constructed 'hanamichi', a raised path that is a traditional element of Kabuki Theatre. Meaning ‘the road of the flower’, the hanamichi is both a means of entering and exiting the stage and an integral part of the performance. ~ Akira Takayama, 'Our Songs - Sydney Kabuki Project', 2018, video documentation of perform...ances that took place on 28 January 2018, 250 mins. Filmmaker: Hikaru Fujii. Commissioned by the Biennale of Sydney with generous support from the Neilson Foundation and generous assistance from the Japan Foundation; the Australia-Japan Foundation of the Department of Foreign Affairs and Trade; and Mami Kataoka. Installation view of the 21st Biennale of Sydney (2018) at 4A Center for Contemporary Asian Art. Photograph: Zan Wimberley. Courtesy the artist https://ift.tt/2BdlPrY
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'My mother taught me this song in an effort to encourage me to practice Mandarin after we migrated. That plan didn't work but the song has stayed with me, especially the first line which goes, "Don't ask me where I've come from". I sometimes think of that lyric when people ask me where I'm from or whether I feel more Chinese or Australian. As if identity can be boiled down so simply to geography'. Oliva Shen, Olive Tree ~ Inspired by Kabuki Theatre, a 400-year-old form of Jap...anese theatre, Akira Takayama invited residents of Sydney, people who have come from across Australia and around the world, to share their family stories and cultural traditions through song. ~ Akira Takayama, 'Our Songs - Sydney Kabuki Project', 2018, video documentation of performances that took place on 28 January 2018, 250 mins. Filmmaker: Hikaru Fujii. Commissioned by the Biennale of Sydney with generous support from the Neilson Foundation and generous assistance from the Japan Foundation; the Australia-Japan Foundation of the Department of Foreign Affairs and Trade; and Mami Kataoka. Installation view of the 21st Biennale of Sydney (2018) at 4A Center for Contemporary Asian Art. Photograph: Zan Wimberley. Courtesy the artist https://ift.tt/2vAqoHk
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In partnership with Captain Cook Cruises, we provided free travel for over 4,000 students and educators to the 21st Biennale of Sydney on Cockatoo Island. Subscribe to our Education eNews to take advantage of educator-exclusive programs and offers: goo.gl/T4TyR8

The Biennale of Sydney is seeking a Head of Exhibition Management. Applications close 5 pm, Wednesday 22 August 2018: goo.gl/y5dSE2 ~ Image: Mit Jai Inn, 'Planes (Hover, Erupt, Erode)', 2018 (detail), mixed media installation with paintings. Commissioned by the Biennale of Sydney with generous support from the Neilson Foundation. Installation view of the 21st Biennale of Sydney (2018) at Cockatoo Island. Photograph: Zan Wimberley. Courtesy the artist and SA SA BASSAC, Phnom Penh

Tiffany Chung and N.S. Harsha reflect on their participation in the 21st #BiennaleofSydney, delving into the role of exodus and asylum, materiality and cartography in their work. Read the full article on @Ocula.art, link in our story and bio. https://ift.tt/2AfqZ60

Tiffany Chung and N.S. Harsha reflect on their participation in the 21st #BiennaleofSydney, delving into the role of exodus and asylum, materiality and cartography in their work. Read the full article on @Ocula.art, link in our story and bio. https://ift.tt/2JWFawj

Tiffany Chung and N.S. Harsha reflect on their participation in the 21st Biennale of Sydney, delving into the role of exodus and asylum, materiality and cartography in their work. Read the full article on Ocula: https://goo.gl/rRWLqU

The Biennale of Sydney is seeking a Head of Development (Parental Leave Cover). Applications close 5 pm, Wednesday 1 August 2018. https://ift.tt/2LhOwb0

The Biennale of Sydney is seeking a Head of Development (Parental Leave Cover). Applications close 5 pm, Wednesday 1 August 2018: goo.gl/5Rzq6Q ~ Image: Maria Taniguchi, 'Runaways', 2018, Java plum wood, dimensions variable. Presentation at the 21st Biennale of Sydney was made possible with generous assistance from Mercedes Zobel; Silverlens Galleries, Manila; and the Australia-ASEAN Council of the Department of Foreign Affairs and Trade. Installation view of the 21st Biennale of Sydney (2018) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley. Courtesy the artist; Silverlens Galleries, Manila; and Taka Ishii Gallery, Tokyo

Volunteers make the Biennale go ‘round! From our volunteer and staff wrap party at @urban_winery_sydney. Photo: Zan Wimberley #biennaleofsydney #teambiennale https://ift.tt/2KHdfVU

All's well is it? The government(s) built the facilities on Manus in the first place, the same governments responsible for the butchering of over one million people in Iraq, but apparently that's acceptable. You could not be more pathetic if they tried.

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All's well is it? The government(s) built the facilities on Manus in the first place, the same governments responsible for the butchering of over one million people in Iraq, but apparently that's acceptable. You could not be more pathetic if they tried.

• Edit•Share ›

All's well is it? The government(s) built the facilities on Manus in the first place, the same governments responsible for the butchering of over one million people in Iraq, but apparently that's acceptable. You could not be more pathetic if they tried.

• Edit•Share ›

All's well is it? The government(s) built the facilities on Manus in the first place, the same governments responsible for the butchering of over one million people in Iraq, but apparently that's acceptable. You could not be more pathetic if they tried.

• Edit•Share ›