Hundreds of independent art and museums spaces were forced to close due to the Corona-Crisis. In this series we are celebrating all the fantastic artistic events that are right now sitting behind closed doors. This time we provide an insight into the third oldest Biennale in the World - the Biennale of Sydney. The this year’s exhibition, titled NIRIN is an artist- and First Nations-led biennale showcasing more than 700 artworks by 101 artists and collectives.
Tony Albert, Brothers (The Prodigal Son), 2020, glass, lead, photographic decal, steel, stone. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph: Zan Wimberley
The Biennale of Sydney has launched its 22nd edition, taking place from 14 March – 18 June 2020. Titled NIRIN, means ‘edge’ in Wiradjuri, is an artist- and First Nations-led biennale and a global platform for diverse cultures and perspectives. The Biennale unites people across the world, stimulating dialogue and inspiring change with a diverse range of contemporary artworks spanning from video and photography to installations and performances, across six different venues in Sydney.
These are the artists and collectives who will participate in the 22nd Biennale of Sydney are: Tony Albert, Maria Thereza Alves, Lhola Amira, Sammy Baloji, Huma Bhabha, Blacktown Native Institution, Eric Bridgeman, Anna Boghiguian, Victoria Santa Cruz, Léuli Eshrãghi, Jes Fan, Nicholas Galanin, Fátima Rodrigo Gonzales, Lawrence Abu Hamdan, Arthur Jafa, Hannah Catherine Jones, Bronwyn Katz, Mayunkiki, Kylie Kwong, Barbara McGrady, Ibrahim Mahama, Teresa Margolles, Misheck Masamvu, Katarina Matiasek, Jota Mombaça, Prof Zanele Muholi, The Mulka Project, S.J Norman, Taqralik Partridge, Laure Prouvost, Lisa Reihana, Latai Taumoepeau, Gina Athena Ulysse and many more.
Due to the COVID-19 pandemic the 22nd Biennale of Sydney: NIRIN moves to digital experience. More information here.
Anders Sunna installing SOAÐA. Anders Sunna, 2020, mixed media, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Campbelltown Arts Centre. Courtesy the artist. Photograph: Zan Wimberley
Jose Dávila, The Act of Perseverance, site specific mixed media. Installation with found materials from Cockatoo Island, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and König gallery.
Jose Dávila, The Act of Perseverance, site specific mixed media, installation with found materials from Cockatoo Island, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and König gallery.
Jose Dávila, The Act of Perseverance, site specific mixed media, installation with found materials from Cockatoo Island, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and König gallery.
Jose Dávila, The Act of Perseverance, site specific mixed media, installation with found materials from Cockatoo Island, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and König gallery.
Tennant Creek Brio. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artists and Nyinkka Nyunyu Art and Culture
Tennant Creek Brio. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artists and Nyinkka Nyunyu Art and Culture
Ibrahim Mahama, No Friend but the Mountains 2012-2020, 2020, charcoal jute sacks, sacks, metal tags and scrap metal tarpaulin, dimensions variable. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist; White Cube; and
Laure Prouvost installing Into All That is Here With The Two Cockatoo Too, Laure Prouvost, 2020, mixed media installation, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist; Galerie Nathalie Obadia, Paris / Brussels; carlier | gebauer, Berlin / Madrid; and Lisson Gallery, London / New York / Shanghai. Photograph: Zan Wimberley
Progress installation view, Museum of Contemporary Art Australia, 2020. Photograph: Zan Wimberley
Installation view (2020) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley.
Installation view (2020) at the Museum of Contemporary Art Australia. Photograph: Zan Wimberley.
Progress installation view, Museum of Contemporary Art Australia, 2020. Photograph: Zan Wimberley
Progress installation view, Museum of Contemporary Art Australia, 2020. Photograph: Zan Wimberley
Progress installation view, Museum of Contemporary Art Australia, 2020. Photograph: Zan Wimberley
Zanele Muholi, Ayanda & Nhlanhla Moremi’s wedding, 2015, single-channel digital video, 11:50 mins. Installation view (2020) for the 22nd Biennale of Sydney, Museum of Contemporary Art Australia. Courtesy the artist; Stevenson, Cape Town/Johannesburg; and Yancey Richardson, New York. Photograph: Zan Wimberley
Kunmanara Mumu Mike Williams, Kulilaya munu nintiriwa (Listen and learn), 2020, installation of UV cured flat-bed prints on hand finished untreated canvas with alterations in paint, ink and tea; suspended from spears made by kulata (spearbush) and mulga, malu, pulyku (kangaroo tendon) and kiti (mulga leaf resin), dimensions variable. Installation view, detail (2020) for the 22nd Biennale of Sydney, Art Gallery of New South Wales. Courtesy Mimili Maku Arts. Photograph: Zan Wimberley
Kunmanara Mumu Mike Williams, Kulilaya munu nintiriwa (Listen and learn), 2020, installation of UV cured flat-bed prints on hand finished untreated canvas with alterations in paint, ink and tea; suspended from spears made by kulata (spearbush) and mulga, malu, pulyku (kangaroo tendon) and kiti (mulga leaf resin), dimensions variable. Installation view, detail (2020) for the 22nd Biennale of Sydney, Art Gallery of New South Wales. Courtesy Mimili Maku Arts. Photograph: Zan Wimberley
Hannah Catherine Jones installing Owed to Diaspora(s), Hannah Catherine Jones, 2020, mixed media installation, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist. Photograph: Zan Wimberley
Hannah Catherine Jones installing Owed to Diaspora(s), Hannah Catherine Jones, 2020, mixed media installation, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist. Photograph: Zan Wimberley
Colectivo Ayllu installing don’t blame us for what happened, Colectivo Ayllu, 2019-2020, mixed media installation with print walls, video projections, audio and altar, dimensions variable. Installation progress view (2020) for the 22nd Biennale of Sydney, Artspace. Courtesy the artists. Photograph: Zan Wimberley
NIRIN HAIVETA. Photograph: Zan Wimberley
Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian installing I Prefer Talking to Doctors, About Something Else. Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, 2020. Installation progress view (2020) for the 22nd Biennale of Sydney, Powerhouse Museum (MAAS). Photograph: Zan Wimberley.
Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian installing I Prefer Talking to Doctors, About Something Else. Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, 2020. Installation progress view (2020) for the 22nd Biennale of Sydney, Powerhouse Museum (MAAS). Photograph: Zan Wimberley.
Manuel Ocampo. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and STATION, Australia. Photograph: Zan Wimberley
ArTree Nepal, Not less expensive than gold, 2020, mixed-media installation. Installation view, detail (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artists. Photograph: Zan Wimberley
ArTree Nepal, Not less expensive than gold, 2020, mixed-media installation. Installation view, detail (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artists. Photograph: Zan Wimberley
ArTree Nepal, Not less expensive than gold, 2020, mixed-media installation. Installation view, detail (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artists. Photograph: Zan Wimberley
Tony Albert, Healing Land, Remembering Country, 2020, greenhouse nursery, hand woven baskets, native plants. Installation view, detail (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph: Zan Wimberley
Tony Albert, Healing Land, Remembering Country, 2020, greenhouse nursery, hand woven baskets, native plants. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph: Zan Wimberley
Anna Boghiguian, The Uprooted, 2020, mixed media installation, dimensions variable. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist. Photograph: Zan Wimberley
Anna Boghiguian, The Uprooted, 2020, mixed media installation, dimensions variable. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist. Photograph: Zan Wimberley
Anna Boghiguian, The Uprooted, 2020, mixed media installation, dimensions variable. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy the artist. Photograph: Zan Wimberley
Installation view (2020) at Campbelltown Arts Centre. Photograph: Zan Wimberley.
Barabara McGrady. Installation view (2020) for the 22nd Biennale of Sydney, Campbelltown Arts Centre. Courtesy the artist. Photograph: Zan Wimberley
Barabara McGrady. Installation view (2020) for the 22nd Biennale of Sydney, Campbelltown Arts Centre. Courtesy the artist. Photograph: Zan Wimberley
Installation view (2020) at Campbelltown Arts Centre. Photograph: Zan Wimberley.
Installation view (2020) at Campbelltown Arts Centre. Photograph: Zan Wimberley.
Installation view (2020) at Campbelltown Arts Centre. Photograph: Zan Wimberley.
Adrian Stimson. Installation view (2020) for the 22nd Biennale of Sydney, Campbelltown Arts Centre. Courtesy the artist. Photograph: Zan Wimberley
Teresa Margolles, Untitled, 2020, mixed-media installation. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist and Galerie Peter Kilchmann, Zurich. Photograph: Zan Wimberley
Teresa Margolles, Untitled, 2020, mixed-media installation. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist and Galerie Peter Kilchmann, Zurich. Photograph: Zan Wimberley
Andrew Rewald and Randy Lee Cutler. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artists; Museum of Applied Arts and Sciences, Sydney; and Christine Myerscough. Photograph: Zan Wimberley
Hannah Catherine Jones, Owed to Diaspora(s), 2020, mixed-media installation. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist. Photograph: Zan Wimberley
Ibrahim Mahama, A Grain of Wheat, 2015-18, mixed media. Installation view (2020) for the 22nd Biennale of Sydney, Artspace. Courtesy the artist and White Cube, London / Hong Kong. Photograph: Zan Wimberley
Fátima Rodrigo Gonzales, Sabado Gigante (Gigantic Saturday), 2020, MDF, steel, acrylic sheet, enamel paint, LED. Installation view (2020) for the 22nd Biennale of Sydney, Artspace. Courtesy the artist and 80m2 Livia Benavides Gallery, Lima. Photograph: Zan Wimberley
Installation view (2020) photographed in the Grand Courts at the Art Gallery of New South Wales, Sydney. Photograph: Zan Wimberley.
Rosana Paulino. Installation view (2020) photographed in the Grand Courts at the Art Gallery of New South Wales, Sydney. Photograph: Zan Wimberley.
Installation view (2020) photographed in the Grand Courts at the Art Gallery of New South Wales, Sydney. Photograph: Zan Wimberley.
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