rīvus - BIENNALE OF SYDNEY 23RD EDITION
Open to the public from March 12 to June 13, 2022, this major international contemporary art event under the title rīvus will be articulated through a series of conceptual wetlands and imagined ecosystems populated by artworks, public programs, experiments, research and activisms, following the currents of meandering tributaries that expand into a delta of interrelated ideas.
Those invited to take part in the 23rd Biennale of Sydney will be known as “participants” rather than “artists” reflecting their diverse talents, skills, practice—and modes of being—that extend beyond the realm of the visual arts. These live and work across 33 countries on six continents including Cameroon, Cuba, Venezuela, Slovenia, Taiwan, Tonga, and the Netherlands.
In a panel discussion facilitated by First Nations journalist Rachael Hocking, the Curatorium spoke of waterways as dynamic living systems with varying degrees of political agency. “Indigenous knowledge has long understood non-human entities as living ancestral beings with a right to life that must be protected. But only recently have some plants, mountains, and bodies of water been granted legal personhood. If we can recognise that a river has a voice, what might it say? rīvus will enable aqueous beings—rivers, wetlands, and other salt and freshwater ecosystems—to share a dialogue with artists, architects, designers, scientists, and communities. Considering the water ecology’s perspective raises unlikely questions: Can a river sue over psychoactive sewage? Will oysters grow teeth in aquatic revenge? What do the eels think? Are waves the ocean’s desire?”
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Milton Becerra, participant, 23rd Biennale of Sydney (2022). Photograph: Courtesy of the artist.
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Tania Candiani, Nocheztli, 2015. From Cromática. Cochineal Grana insects, Grana ink, Cactus (nopal), and wood, 8 x 8 x 12 metres. Installation view at Museo de Arte Contemporáneo de Oaxaca, Cromática Exhibition, Oaxaca City, Mexico. Commissioned by Museo de Arte Contemporáneo de Oaxaca. Courtesy of the artist and Galería Vermelho. Photograph: Tania Candiani.
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Carolina Caycedo, Thanks for Hosting Us, We Are Healing our Broken Bodies (video still), 2019, from the series ‘Water Portraits’ (2015 – Present), HD Video, 9 min. Installation view from an activation of the Water Portraits in the Santa Ana River, San Gabriel River and Pacific Ocean in Orange County. Commissioned by the Orange County Museum of art OCMA. Courtesy of the artist, Commonwealth and Council Los Angeles, California and Instituto de Vision Bogotá, Colombia.
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Matias Duville, Romance atómico, 2017, resin mass, digital video, soundtrack, dimensions variable. Courtesy Barro Gallery. Photograph: Bruno Dubner.
The team of curators—the Curatorium—developing and realising the 2022 edition represent the Biennale of Sydney’s core exhibition partners: José Roca, Artistic Director, 23rd Biennale of Sydney; Paschal Daantos Berry, Head of Learning and Participation, Art Gallery of New South Wales; Anna Davis, Curator, Museum of Contemporary Art Australia; Hannah Donnelly, Producer, First Nations Programs, Information + Cultural Exchange (I.C.E.); Talia Linz, Curator, Artspace
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José Roca, Artistic Director, 23rd Biennale of Sydney, and the Curatorium: Paschal Daantos Berry, Head of Learning and Participation, Art Gallery of New South Wales; Anna Davis, Curator, Museum of Contemporary Art Australia; Hannah Donnelly, Producer, First Nations Programs, Information and Cultural Exchange (ICE); Talia Linz, Curator, Artspace Sydney- Participants:Badger Bates; Teho Ropeyarn Artist; Julie Gough; Kylie Caldwell, Casino Wake Up Time; Jiva Parthipan, STARTTS, (NSW Service for the Treatment and Rehabilitation of Torture and Trauma Survivors)
The Biennale of Sydney is a leading international contemporary art event. It plays an indispensable role in Australia’s engagement with the world, and a meaningful role in the life of the nation. For almost 50 years, the Biennale has been a unifying force in the Australian arts sector, embedding boldly creative art exhibitions and experiences in the everyday life of Sydney and putting the artistic excellence of Australia front and centre on the world stage. The Biennale of Sydney has commissioned and presented exceptional works of art by more than 1900 national and international artists from more than 130 countries, and it is committed to free access for all.
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Ana Teresa Barboza and Rafael Freyre, 5 vegetable dyes from Lambayeque, 2017. Traditional loom and hand-embroidery Sheep’s wool with natural dyes by the community of Incahuasi, in Lambayeque, 180 x 280 x 250 cm. Installation view at Unweave the image (2017) at Sala 770, Lima. Courtesy the artists. Photograph: Juan Pablo Murrugarra.
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Alex Cerveny, Glossário dos nomes próprios, 2015, oil on linen, 120 x 160 cm. Installtion view at Glossário dos nomes proprios, Paço Imperial (2015), Rio de Janeiro. Courtesy the artist. Photograph: Edouard Fraipont.
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Melissa Dubbin & Aaron S. Davidson, Delay Lines, 2019, water from subterranean Asahi River, borosilicate glass, overclocked water-cooled computer, silicone soft robot manta, silicon boules, temperature sensors, micro-controllers, air compressor, air control system, simulated environment, monitor, metal, plastic and power supplies, dimensions variable. Installation view for If the Snake (2019) at Okayama Art Summit, Okayama City, Japan. Courtesy the collection of Ishikawa Foundation, Okayama, Japan. Photograph: Ola Rindal.
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Mata Aho Collective, AKA, 2019, copolymer fibre marine rope, steel, 1400 x 200 cm. Installation view Àbadakone | Continuous Fire | Feu Continuel (2019), National Gallery of Canada, Ottawa. Commissioned by National Gallery of Canada, Ottawa. Courtesy the National Gallery of Canada. Copyright © Mata Aho Collective.
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Marguerite Humeau, Waste I - 1, A respiratory tract mutating into industrial waste, 2019, dove respiratory tract in resin, polyurethane, paint, silicone tubes, CO, 93 x 56 x 33 cm. Installation view from ‘Mist;, solo exhibition at C L E A R I N G New York/ Brussels. Courtesy the artist, C L E A R I N G New York/Brussels. Photograph: Julia Andréone.
The first 59 participants announced as part of the 23rd Biennale of Sydney (2022) are:
A4C Arts for the Commons (Ecuador/Italy) / Ackroyd & Harvey (England) / Robert Andrew (Yawuru, Australia) / Ana Barboza and Rafael Freyre (Peru) / Badger Bates (Barkandji, Australia) / Milton Becerra (Venezuela/France) / Cave Urban (Australia) / Hera Büyüktaşcıyan (Turkey) / Tania Candiani (Mexico) / Yoan Capote (Cuba) / Casino Wake Up Time (Bundjalung, Kamillaroi, Australia) / Carolina Caycedo (Colombia/USA) / Alex Cerveny (Brazil) / Erin Coates (Australia) / Cian Dayrit (Philippines) / Melissa Dubbin & Aaron S. Davidson (USA) / Matias Duville (Argentina) / Clemencia Echeverri (Colombia) / Embassy of the North Sea (North Sea/The Netherlands) / Juliana Góngora Rojas (Colombia) / Julie Gough (Trawlwoolway, Australia) / Senior Craftsman Rex Greeno and son Dean Greeno (Palawa, Australia) / David Haines & Joyce Hinterding (Australia/England) / Sheroanawe Hakihiiwe (Yanomami, Venezuela) / Dale Harding (Bidjara/Ghungalu/Garingbal, Australia) / Joey Holder (England) / Marguerite Humeau (France) / Aluaiy Kaumakan (Paiwan Nation, Paridrayan Community, Taiwan) / Pushpa Kumari (India) / Eva L'Hoest (Belgium) / Mata Aho Collective (Te Atiawa ki Whakarongotai, Ngāti Toa Rangatira, Ngāti Awa, Ngāi Tūhoe, Ngāti Pūkeko, Ngāti Ranginui, Ngāi Te Rangi, Rangitāne, Ngāti Kahungungu ki Wairarapa, Aotearoa New Zealand) / Clare Milledge (Australia) / Yuko Mohri (Japan) / Moogahlin Performing Arts with Aanmitaagzi Big Medicine Studio (Murrawarri, Biripi, Australia; Ojibway/Mohawk, Mi’kmaq, Turtle Island, Canada) / New Landscapes Institute (Australia) / New-Territories_S/he_f.Roche (France) / Leeroy New (Philippines) / Wura-Natasha Ogunji (Nigeria/USA) / Mike Parr (Australia) / Marjetica Potrč (Slovenia) / Caio Reisewitz (Brazil) / Tabita Rezaire (France/French Guiana) / Duke Riley (USA) / Abel Rodríguez (Mogaje Guihu) (Nonuya, Colombia) / Teho Ropeyarn (Angkamuthi/Yadhaykana, Australia) / Diana Scherer (Germany/The Netherlands) / Dineo Seshee Bopape (South Africa) / Komunidad X Sipat Lawin (Philippines) / Kiki Smith (USA) / Paula de Solminihac (Chile) / STARTTS (NSW Service for the Treatment and Rehabilitation of Torture and Trauma Survivors) and Jiva Parthipan (Australia) / Jenna Sutela (Finland/Germany) / Imhathai Suwatthanasilp (Thailand) / Leanne Tobin (Dharug, Australia) / Barthélémy Toguo (Cameroon/France) / Sopolemalama Filipe Tohi (Tonga/Aotearoa New Zealand) / Hanna Tuulikki (England/Scotland/Finland) / Gal Weinstein (Israel) / Zheng Bo (Bai, China)
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