22nd Biennale of Sydney: NIRIN

Dates:
14 March – 15 November 2020
Locations:
Art Gallery New South Wales
Artspace
Australian Centre for Contemporary Art (ACCA) (online)
Campbelltown Arts Centre
Carriageworks
Cockatoo Island
Museum of Contemporary Art Australia
National Art School
NIRIN WIR (Blacktown Native Institution, Parramatta Female Factory with PYT Fairfield, Bankstown Poetry Slam, FUNPARK Coalition (Bidwill), City of Sydney Libraries, Randwick City Council, tertiary institutions, grassroots organisations and more)
Artistic Director: Brook Andrew
Artists: 101
Artworks: 704

The Mulka Project, Watami Manikay (Song of the Winds), 2020. Installation view for the 22nd Biennale of Sydney (2020), Art Gallery of New South Wales. Commissioned by the Biennale of Sydney. Contributors: Joseph Brady, Rebecca Charlesworth, Ishmael Marika, Mundatjŋu Munuŋgurr, Patrina Munuŋgurr, Arian Pearson, , Siena Maytu Wurrmarri Stubbs, Wukun Wanambi, Gutiŋarra Yunupiŋu. Courtesy Buku-Larrŋgay Mulka Centre, Yirrkala. Photograph: Zan Wimberley.

Lhola Amira, Philisa: Ditaola, 2018-20. Installation view for the 22nd Biennale of Sydney (2020), Cockatoo Island. Commissioned by the Biennale of Sydney with generous assistance from the Sherman Foundation, and assistance from NIRIN 500 patrons. Courtesy the artist and SMAC Gallery, Cape Town / Johannesburg / Stellenbosch. Photograph: Jessica Maurer.

Curatorial Statement

Under the artistic direction of acclaimed Indigenous Australian artist, Brook Andrew, the 22nd Biennale of Sydney, titled NIRIN, was an artist- and First Nations-led endeavour, presenting an expansive exhibition of contemporary art and events presented across Sydney and Melbourne, and globally via digital platforms that connect local communities and global networks.

The 22nd Biennale of Sydney, titled NIRIN, was accompanied by a public program, titled NIRIN WIR. NIRIN (meaning ‘edge’) and NIRIN WIR (meaning ‘edge of the sky’) are Wiradjuri words. First Nations languages were used throughout the Biennale to highlight the urgency of reviving and sustaining the future of language diversity.

NIRIN brings seeming opposites together, like the everyday experience of throw-away contradictions and changing emotions colliding to reveal hidden histories, or self-representation that may both confront and empower something unimaginable. In urgent times of shifting boundaries and conflicts between humanity, nature and spirituality, we desperately need to alter our actions to catch up with expedient change and show respect for ancient cultures. Now is a potent time to heal and feel the rush and tension of new futuristic possibilities.

NIRIN proposes that creativity is an important means of truth-telling, of directly addressing unresolved anxieties that stalk our times and ourselves. Most importantly, NIRIN is a place from which to see the world through different eyes, to embrace our many edges and imagine pride in ecologically harmonious and self-defined futures. It provides an opportunity to explore both ancient ties and new kinships borne of sensitivity, desire and multiplicity.’

Brook Andrew, Artistic Director of the 22nd Biennale of Sydney (2020).

Jes Fan, ‘Form begets Function’, 2020; and ‘Xenophoria’, 2020. Installation view for the 22nd Biennale of Sydney (2020), Museum of Contemporary Art Australia. Commissioned by the Biennale of Sydney with assistance from Canada Council for the Arts and the Consulate General of Canada in Sydney. Courtesy the artist and Empty Gallery, Hong Kong. Photograph: Ken Leanfore, Museum of Contemporary Art Australia.

List of artists

ADRIFT LAB (Canada/Australia/United Kingdom)

TONY ALBERT (Australia)

CHARLOTTE ALLINGHAM (Australia)

MARIA THEREZA ALVES (Brazil/Germany/Italy)

LHOLA AMIRA (South Africa)

JOËL ANDRIANOMEARISOA (Madagascar/France)

ARTREE NEPAL (Nepal)

SAMMY BALOJI Democratic (Republic of Congo/Belgium)

BANKSTOWN POETRY SLAM (Australia)

DENILSON BANIWA (Brazil)

BE. (Australia)

DION BEASLEY AND JOHANNA BELL (Australia)

NAMILA BENSON (Papua New Guinea)

SISSEL M. BERGH (Norway)

HUMA BHABHA (Pakistan/USA)

BLACKTOWN NATIVE INSTITUTION (Australia)

KARIM BLEUS (Haiti)

ANNA BOGHIGUIAN (Egypt/Canada)

MOHAMED BOUROUISSA (Algeria/France)

BREAKING BREAD (South Africa)

ERIC BRIDGEMAN AND HAUS YURIYAL (Papua New Guinea/Australia)

TANIA BRUGUERA (Cuba)

VAJIKO CHACHKHIANI (Georgia/Germany)

LICURA CHIHUAILAF NAHUELPÁN (Chile)

COLECTIVO AYLLU (Argentina/Chile/Ecuador/Spain/Venezuela)

VICTORIA SANTA CRUZ (1922-2014) (Peru)

RANDY LEE CUTLER (Canada)

JOSE DÁVILA (Mexico)

KARLA DICKENS (Australia)

PRÉFÈTE DUFFAUT (1923-2012) (Haiti)

LÉULI ESHRĀGHI (Australia)

ANDRE EUGENE (Haiti)

FAFSWAG (New Zealand)

JES FAN (Canada/USA/China)

LAFORTUNE FELIX (1933-2016) (Haiti)

FIRST DOG ON THE MOON (Australia)

BRIAN FUATA (New Zealand)

FUNPARK COALITION (Australia)

NICHOLAS GALANIN (USA)

STUART GEDDES AND TRENT WALTER (Australia)

JOSEP GRAU-GARRIGA (1929-2011) (Spain/France)

LAWRENCE ABU HAMDAN (Jordan/Lebanon)

AZIZ HAZARA (Afghanistan)

LILY HIBBERD (Australia)

SARAH HOUBOULT (Australia)

LUCAS IHLEIN AND KIM WILLIAMS (Australia)

ILTJA NTJARRA / MANY HANDS ART CENTRE (Australia)

INFORMATION & CULTURAL EXCHANGE (I.C.E.) (Australia)

ARTHUR JAFA (USA)

HANNAH CATHERINE JONES (United Kingdom)

EMILY KARAKA (New Zealand)

BRONWYN KATZ (South Africa)

KYLIE KWONG (Australia)

TAREK LAKHRISSI (France)

IBRAHIM MAHAMA (Ghana)

KULIMOE’ANGA STONE MAKA (Tonga/New Zealand)

NOŊGIRRŊA MARAWILI Darrpirra/Yirrkala (Australia)

TERESA MARGOLLES (Mexico/Spain)

MISHECK MASAMVU (Zimbabwe)

KATARINA MATIASEK (Austria)

MAYUNKIKI (Japan)

BARBARA MCGRADY (Australia)

JOHN MILLER AND ELISAPETA HETA (New Zealand)

JOTA MOMBAÇA (Brazil)

MOSTAFF MUCHAWAYA (Zimbabwe)

ZANELE MUHOLI (South Africa)

THE MULKA PROJECT Yirrkala (Australia)

MELANIE MUNUNGGURR (Australia)

MZRIZK (Australia)

PAULO NAZARETH (Brazil)

S.J NORMAN (Australia/Germany)

MUSA N. NXUMALO (South Africa)

MANUEL OCAMPO (Philippines)

ERKAN ÖZGEN (Turkey)

PARRAMATTA FEMALE FACTORY AND PYT FAIRFIELD (Australia)

TAQRALIK PARTRIDGE (Norway/Canada)

ROSANA PAULINO (Brazil)

LAURE PROUVOST (France/Belgium/United Kingdom)

BHENJI RA (Australia)

RAMIN HAERIZADEH, ROKNI HAERIZADEH AND HESAM RAHMANIAN (Iran/United Arab Emirates)

READING OCEANIA (Australia)

LISA REIHANA (New Zealand)

ANDREW REWALD (Australia/Germany)

DEMIAN DINÉYAZHI´ AND R.I.S.E.: RADICAL INDIGENOUS SURVIVANCE & EMPOWERMENT (USA)

FÁTIMA RODRIGO GONZALES (Peru)

SHAHEED / WITNESS / KASHMIR (India/Kashmir)

JUSTIN SHOULDER (Australia)

STARTTS (NSW SERVICE FOR THE TREATMENT AND REHABILITATION OF TORTURE AND TRAUMA SURVIVORS) (Australia)

ADRIAN STIMSON Canada/Siksika Nation (Canada)

ANDERS SUNNA (Sápmi/Sweden)

SUOHPANTERROR Sápmi (Finland/Sweden/Norway)

ELLE-MÁIJÁ TAILFEATHERS Kainai First Nation (Canada)/Sápmi (Norway)

LATAI TAUMOEPEAU (Australia)

TENNANT CREEK BRIO (Australia)

WARWICK THORNTON (Australia)

GINA ATHENA ULYSSE (Haiti/USA)

AHMED UMAR (Sudan/Norway)

UNBOUND COLLECTIVE (Australia)

KUNMANARA (MUMU MIKE) WILLIAMS (1952-2019) Pitjantjatjara (Australia)

PEDRO WONAEAMIRRI (WITH PATRICK FREDDY PURUNTATAMERI) Melville Island/ Andranangruwu, Paluwiyanga (Australia)

15 SCREENS: BOPHANA AUDIOVISUAL RESOURCE CENTRE: SAROEUN BLONG, VUNNENG LENG, CHHOUK LOEURN, LEAN MANG, VET MOURNG, RANY PHOK, PRING PROEL, SITHORT RET, POAV SEV (Cambodia), MOARA BRASIL AND JANAÚ (Brazil), THE COLLI CREW (Australia), VICTORIA HUNT (Australia/ New Zealand), REHAB NAZZAL (Palestine), LUCIENNE RICKARD (Australia), GLEN STASIUK (Australia), ADRIAN STIMSON (Canada), JAMES TYLOR (Australia), SALOTE TAWALE (Fiji/Australia), IRAQUEER (Iraq/Sweden)

Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Courtesy the artists. Photograph: Document Photography

Noŋgirrŋa Marawili; ‘Baratjala’, 2019; ‘Baratjala’, 2019; ‘Baratjala’, 2019; and ‘Baratjala’, 2019. Installation view for the 22nd Biennale of Sydney (2020), Museum of Contemporary Art Australia. Presented at the 22nd Biennale of Sydney with generous assistance from Sue Acret and James Roth. Courtesy Private Collection, Melbourne; Susan Colless Collection; and the artist; Buku-Larrŋgay Mulka Centre, Yirrkala; and Alcaston Gallery, Melbourne. Photograph: Alex Robinson

Bronwyn Katz, /, 2019; Anglo-Netherlandish workshop, King Henry VIII, c.1535-40; Frans Il Pourbus, Portrait of a man, c.1610-20; and Bronwyn Katz, //, 2019. Installation view for the 22nd Biennale of Sydney (2020), Art Gallery of New South Wales. Presented at the 22nd Biennale of Sydney with generous support from Open Society Foundations, and generous assistance from the Sherman Foundation. Courtesy the Jenkins Collection, Johannesburg and Private Collection Mallorca, Spain. Photograph: Zan Wimberley.

Huma Bhabha, ‘The Past is a Foreign Country’, 2019; ‘Waiting for Another Game’, 2018; and ‘God of Some Things’, 2011. Installation view for the 22nd Biennale of Sydney (2020), Museum of Contemporary Art Australia. Presented at the 22nd Biennale of Sydney with generous support from Anonymous, and assistance from Salon 94, New York and the United States Government. Courtesy the artist and Salon 94, New York. Photograph: Zan Wimberley.

Elle-Máijá Tailfeathers, Bihttoš, 2014. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with generous assistance from the Office for Contemporary Art Norway, Canada Council for the Arts and the Consulate General of Canada in Sydney. Courtesy the artist. Photograph: Zan Wimberley.

Latai Taumoepeau, ‘The Last Resort’, 2020. Performance for the 22nd Biennale of Sydney (2020), Cockatoo Island. Commissioned by the Biennale of Sydney with generous assistance from the Oranges & Sardines Foundation. Courtesy the artist. Performer / Co-devisor: Taliu Aloua; Lighting Designer: Amber Silk; Soundtrack: James Brown; Costume: Anthony Aitch. Photograph: Zan Wimberley.

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia
quaeperumqui officiet earum res

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae.

Uptaquaepudi alias dolorepudi si dolupta ium deliquis sanit alicimusanis vel ium ratiisc ipiciistios dolectur, andignam nonsectest
rem volorporro molorpo reperovitat et la volo volupta vernam aut aliqui ut doloressit quiduci aerfers perchicit ma ius magnimpero
vel magnime nonectore voles quae sume nobiti debis int, omnihitin nosam, con eum voluptate officimped que nima quo

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia
quaeperumqui officiet earum res

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae. Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum res veliatemolor adigeniamet ditatur sam nullupt isquodi cum fugit, vit fugitem quis cumquae.

Uptaquaepudi alias dolorepudi si dolupta ium deliquis sanit alicimusanis vel ium ratiisc ipiciistios dolectur, andignam nonsectest
rem volorporro molorpo reperovitat et la volo volupta vernam aut aliqui ut doloressit quiduci aerfers perchicit ma ius magnimpero
vel magnime nonectore voles quae sume nobiti debis int, omnihitin nosam, con eum voluptate officimped que nima quo

Top: Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet earum
res uaeperumqui officiet earum res
Bottom: Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia quaeperumqui officiet
earum res

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia
quaeperumqui officiet earum res

Mus re officillupta non preri ut oditibere, quaecab orerum remod ut essequis antia
quaeperumqui officiet earum res

CREDITS

Click here to visit the 22nd Biennale of Sydney: NIRIN Google Arts and Culture page.
Click here to access the 22nd Biennale of Sydney: NIRIN archive.
Click here to access the 22nd Biennale of Sydney: NIRIN artwork highlights.

Subscribe to SOUTH SOUTH Newsletter