On Monday I was lucky enough to go on a whirlwind preview tour of the Biennale. I had such an incredible time exploring the various locations of the show, meeting some of the artists and immersing myself in a different perspective. The theme invited many artworks that offered an in-depth social commentary - which was confronting, but rewarding, and I found myself deep in thought as I roamed through the incredible works.
If you are unfamiliar with the event, the Biennale of Sydney started in 1973 as part of the opening celebrations of the Sydney Opera House. Since 1973 the Sydney Biennale has showcased the work of close to 1,800 local and international contemporary artists who connect local communities and global networks in three glorious months of amazing art in across 6 extraordinary venues (the Art Gallery of NSW, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School.)
This year, First Nations artist and curator Brook Andrews curated an exhibition of contemporary art aiming to address the “unresolved past anxieties” that afflict contemporary society. “NIRIN”, meaning “edge”, is a term from Andrew’s mother’s Wiradjuri people of central western New South Wales. The reclamation of the Biennale by indigenous cultures around the globe created a wonderful juxtaposition between pride and shame - demonstrating the importance of creatives and art as a powerful tool to help resolve, heal and reimagine the future of our world.