24th Biennale 2024 partial list of participating artists
Adebunmi Gbadebo (US), Alberto Pitta (Brazil), Andrew Thomas Huang (US), Anne Samat (Malaysia), Bonita Ely (Australia), Christopher Myers (US), Citra Sasmita (Indonesia), Darrell Sibosado (Bard/Noongar, Australia), Doreen Chapman (Manyjilyjarra, Australia), Eisa Jocson (Philippines), Elyas Alavi (Afghanistan/Australia), Francisco Toledo (Mexico), Freddy Mamani (The Plurinational State of Bolivia), Hayv Kahraman (Iraq/Sweden/US), Idas Losin (Truku/Atayal, Taiwan), I Gusti Ayu Kadek Murniasih (Indonesia), Li Jiun-Yang (Taiwan), John Pule (Niue/Aotearoa New Zealand), Kaylene Whiskey (Yankunytjatjara, Australia), Kirtika Kain (India/Australia), Marie-Claire Messouma Manlanbien (France), Ming Wong (Singapore/Germany), Nádia Taquary (Brazil), Nikau Hindin, Ebonie Fifita-Laufilitoga-Maka, Hina Puamohala Kneubuhl, Hinatea Colombani, Kesaia Biuvanua (Te Rarawa/Ngāpuhi, Aotearoa New Zealand; Fungamapitoa, Tonga, Aotearoa New Zealand; Kihalaupoe, Maui, Hawai‘I; ‘Arioi, Tahiti; Moce, Lau, Fiji), Orquideas Barrileteras (Guatemala), Özgür Kar (Turkey/Netherlands), Pacific Sisters (Aotearoa New Zealand), Pauletta Kerinauia (Miyartuwi (Pandanus), Tiwi Islands, Australia), Sachiko Kazama (Japan), Satch Hoyt (UK/Jamaica), Segar Passi (Meriam Mir/Dauareb, Torres Strait...Islands, Australia), Serwah Attafuah (Ashanti/Australia), Tracey Moffatt (Australia), Trevor Yeung (China/Hong Kong), Udeido Collective (West Papua), VNS Matrix (Australia), William Strutt (UK), William Yang (Australia), Yangamini (Tiwi; Gulumirrgin; Warlpiri; Kunwinjku; Yolŋu; Wardaman; Karajarri; Gurindji; Burarra, Australia)
Ten thousand words for the light of day. Ten thousand suns in ten thousand tongues. Ten thousand ways to look at all that the sun brings out from the night and at all that remains unlit. There has rarely been a single sun.
Sometimes there were too many to count. Other times there were ten suns, shining too brightly on their scorching world, until nine of them were shot down by Hou Yi, the archer who saved its people from the heat. A sun is also shinning more and more brightly on our world, but we are not waiting to be saved.
Not waiting to be saved. Not by a saviour, not waiting, not the salvation itself. Not waiting to be saved. But celebrating joy itself, produced in common and shared widely, generations of queer coming-togethers to thrive in spite of it all. In abundance and generosity. In building a garden for all. Resisting loudly to the end-of-days screams of powers revelling in picturing the scale of their own devastations.
Catastrophe is a fantasy of power. It over-determines sociopolitical attention and crisis-temporalities. It diverts resources and agency towards the maintenance of dominant systems. A hegemony of catastrophe and a catastrophic hegemony. In this world, an ethos and aesthetics of collective celebration offers a gift to shrug off the apocalyptic normal as a governing rubric and totalising event-structure.
With the nuclear light, a new collective mind of day and night was raised. A total end for an imagined universal humanity. Through nuclear war and great-power outsourced schemes of nuclear testing—from the Marshall Islands to Moruroa and to Maralinga—the great Pacific and its surrounding lands became a sea of poison. Rising through it all, the unspeakable image of the mushroom cloud. An image that could nevertheless speak for that which has no single image, the unrepresentable, invisible, and insidious carbon age. Unlike the contours of atomic blasts, the devastations of this era escape the frame. But as a longer, slower form of totality, the carbonic may still prove even more destructive than the nuclear.
And yet the sun doesn’t stop shining. It doesn’t stop when empires wither and want to take down the light of day with them. It didn’t even stop in horror when places and continents were broken by these empires, invaded and settled. It did not stop when the HIV/AIDS pandemic was left to run through bodies, communities, and dreams. The suns shone on. They shed light below where broken pieces were being put together. Remembering what was forgotten, forbidden, and creating anew. Mourning and returning to life. In strength and exuberance. In carnivals of rays and radiance. In lineages of resistance and collective power. In Mardi Gras. Under ten thousand suns dancing gently like a morning.
In a footnote of history, in 1945, a man stood on stolen ancestral lands and watched as the first of the explosions that could end the world shone brightly in front of his eyes—just as he had planned it. He was reminded of an ancient text, that spoke of the radiance of a thousand suns and the shattering of worlds. But what he misunderstood was that there are always horizons of renewal, each with a sun set to rise. He did not know that even if they summon a thousand suns to destroy this world there are in fact ten thousand suns that will guide and shine upon our paths beyond their mess.
Biennale of Sydney team:
Aishlinn McCarthy (Head of Communications), Alicia Hollier (Exhibitions Coordinator), Andrew Dillon (Impact and Engagement Manager), Angie Valenzuela (Partnerships Manager), Barbara Moore (CEO), Belinda Wincote (Executive Assistant to the CEO), Billie Phillips (Assistant Curator) Charlotte Galleguillos (Deputy Director), Cosmin Costinaș (Co-Artistic Director), Deborah Jones (Registrar), Elizabeth Nguyen (Finance Manager), Erica Em (Digital Communications Coordinator), Federico Bornatici (Head of Corporate Services), Fredrika Mackenzie (Exhibitions Coordinator), Guillermo Lozano Leo (Head of Development), Inti Guerrero (Co-Artistic Director), Jasmine Stephens (Administration Coordinator), Julia Greenstreet (Exhibitions Manager), Kristin Liu (Grants and Advocacy Manager), Leigh-Ann Pow (Publications Editor), Louise Villar (Development Coordinator), Michael Kennedy (Producer), Noah Bennett (Production and Events Coordinator), Santy Saptari (Philanthropy Manager), Sep Pourbozorgi (Production Manager), Tim Barker (Head of Production), Vivian Ziherl (Curatorial Advisor)
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The Biennale of Sydney is delighted to announce Cosmin Costinaș and Inti Guerrero as the Artistic Directors of the 24th Biennale of Sydney, which will take place March 9–June 10, 2024.
Barbara Moore, Chief Executive Officer, Biennale of Sydney said: “I am thrilled to be working with Cosmin Costinaș and Inti Guerrero—highly respected curators both together and independently with a deep understanding of the international and Australian creative landscapes. The Biennale of Sydney is a participatory platform designed to present the best in contemporary art from around the world, inviting discussion and shared learning about the joys and challenges of our time. I look forward to seeing their collaborative vision develop and sharing their Biennale with our global community in March 2024.”
Cosmin Costinaș is currently the curator of the Romanian Pavilion for the 59th Venice Biennale (2022). He was the Executive Director and Curator of Para Site, Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. During his 11 year tenure (2011-2022) he oversaw the institution’s major expansion and relocation, having curated numerous exhibitions including Garden of Six Seasons and A beast, a god, and a line. He was recently Artistic Director of Kathmandu Triennale 2022, the fourth edition of Nepal’s premier international platform for global contemporary arts. Costinaș is a Curatorial Adviser at the Aichi Triennale (2022). He was Guest Curator at the Dhaka Art Summit ’18 (2018), Co-curator of the 10th Shanghai Biennale (2014), curator of BAK, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010) and Editor of documenta 12 Magazines, documenta 12, Kassel (2005–2007).
Inti Guerrero is currently tutor of the Curatorial Studies programme at the Royal Academy of Fine Arts-KASK, Ghent. He was the Artistic Director of bap—bellas artes projects, Manila (2018-2022), Curator of the 38th EVA International, Ireland’s Biennial, Limerick (2018), Artistic Director of TEOR/éTica, San Jose (2011-2014) and the Estrellita B. Brodsky Adjunct Curator at Tate, London (2016-2020). In 2016, Guerrero was the inaugural curator in residence of the International Visiting Curators Program by Artspace and UNSW Art & Design, Sydney. As an independent curator, Guerrero has curated exhibitions across Asia, Europe and Latin America, including Institute for Tropical and Galactical Studies in the Yokohama Triennale 2020, A Chronicle of Interventions, Tate Modern, London (2014) and A Transatlantic Affair: Josephine Baker and Le Corbusier, Museum of Art of Rio-MAR in Rio de Janeiro (2014). He has edited and contributed his writing to numerous books, magazines, and exhibition catalogues and has taught and lectured at different universities, art academies, and institutions across the world.
Over the past 10 years, Costinaș and Guerrero have co-curated a number of exhibitions together including A Journal of the Plague Year (Hong Kong, Taipei, Seoul and San Francisco, 2013-2015) Soil and Stones, Souls and Songs (Manila, Hong Kong, Bangkok, 2016–2017), Long Green Lizzards—Dakar Biennale, La Biennale de l’Art africain contemporain, Dakar (2018). Both curators are based in Berlin.
As co-curators, their exhibitions embrace the multiplicities of people’s viewpoints, reflected in the unique experiences and possibilities that art can provide, inviting people to challenge and be challenged, to learn and celebrate together. For the 24th Biennale of Sydney (2024), Australia’s vibrant communities will be central to their thinking, while seeing the biennale as a place that reaffirms the urgency for international dialogue.
Cosmin Costinaș and Inti Guerrero, Artistic Directors, 24th Biennale of Sydney (2024) said: “Artists are continuously challenging the codes of representation as well as the world that is being represented. It is our responsibility as curators to find platforms to reflect those varying ideas in an exhibition (as well as other formats and events) that welcomes and belongs to everyone. The previous Biennale of Sydney iterations have been pertinent because of their commitment to community and the current socio-political climate within a local and international context. Our vision for the 24th Biennale of Sydney is thus to create a space that examines the past and present through multiple art languages, from places of struggle and resistance to collective joy, while celebrating and respecting place. As exhibitions are reflections of different ways of seeing reality, the scenographic vocabulary of exhibition-making also needs to reflect the multiplicity of visual regimes that form the lived experience of most people in the world. Such an approach will challenge audiences to learn, celebrate, be inspired, and experience the awe and the magic art is capable of.”
Entrada actualizada el el 12 mar de 2024
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