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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Jun Yang, 'Xiní / Xuelí Blue Room' (2018). Installation and printed wallpaper. Installation view: 21st Biennale of Sydney, 4A Centre for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Martin Janda, Vienna; Vitamin Creative Space, Guangzhou; and ShugoArts, Tokyo. Photo: Document Photography.
Jun Yang, 'Xiní / Xuelí Blue Room' (2018). Installation and printed wallpaper. Installation view: 21st Biennale of Sydney, 4A Centre for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Martin Janda, Vienna; Vitamin Creative Space, Guangzhou; and ShugoArts, Tokyo. Photo: Document Photography.
Jun Yang, 'Xiní / Xuelí Blue Room' (2018). Installation and printed wallpaper. Installation view: 21st Biennale of Sydney, 4A Centre for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Martin Janda, Vienna; Vitamin Creative Space, Guangzhou; and ShugoArts, Tokyo. Photo: Document Photography.
Akira Takayama, 'Our Songs - Sydney Kabuki Project' (2018). Video documentation of performances that took place on 28 January 2018. 250 mins. Installation view: 21st Biennale of Sydney, 4A Center for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Akira Takayama, 'Our Songs - Sydney Kabuki Project' (2018). Video documentation of performances that took place on 28 January 2018. 250 mins. Installation view: 21st Biennale of Sydney, 4A Center for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Akira Takayama, 'Our Songs - Sydney Kabuki Project' (2018). Video documentation of performances that took place on 28 January 2018. 250 mins. Installation view: 21st Biennale of Sydney, 4A Center for Contemporary Asian Art, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Installation view: 21st Biennale of Sydney, Art Space, Sydney (16 March–11 June 2018). Photo: Document Photography.
Geng Xue, 'The Poetry of Michelangelo' (2015). Video, black and white. 19 mins. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Michaël Borremans, 'The Storm' (2006). Single-channel video. 1:07 mins looped. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy Zeno X Gallery, Antwerp. Photo: Document Photography.
Michaël Borremans, 'The Storm' (2006). Single-channel video. 1:07 mins looped. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy Zeno X Gallery, Antwerp. Photo: Document Photography.
Michaël Borremans, 'Small Museum for Brave Art (four variations)' (2007). Wood, cardboard and paint, dimensions variable. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Zeno X Gallery, Antwerp. Photo: Document Photography.
Tanya Goel, 'Index: pages (builders drawing)' (2018). Neel blue chalk pigment, cotton construction thread. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Mirchandani + Steinruecke, Mumbai. Photo: Document Photography.
Tanya Goel, 'Index: pages (builders drawing)' (2018). Neel blue chalk pigment, cotton construction thread. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Mirchandani + Steinruecke, Mumbai. Photo: Document Photography.
Tiffany Chung, 'reconstructing an exodus history: boat trajectories, ports of first asylum and resettlement countries' (2017). Embroidery on fabric. 140 x 350 cm. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tanya Goel, 'Index: pages (builders drawing)' (2018). Neel blue chalk pigment, cotton construction thread. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Mirchandani + Steinruecke, Mumbai. Photo: Document Photography.
Tiffany Chung, 'reconstructing an exodus history: boat trajectories, ports of first asylum and resettlement countries' (2017). Embroidery on fabric. 140 x 350 cm. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tiffany Chung, 'reconstructing an exodus history: boat trajectories, ports of first asylum and resettlement countries' (2017). Embroidery on fabric. 140 x 350 cm. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tiffany Chung, 'reconstructing an exodus history: boat trajectories, ports of first asylum and resettlement countries' (2017). Embroidery on fabric. 140 x 350 cm. Installation view: 21st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Marco Fusinato, 'Constellations' (2015/2018). Baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels. Installation: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photo: silversalt photography.
Installation view: Sam Falls, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Eva Presenhuber, Zürich; Galleria Franco Noero, Turin; and Hannah Hoffman Gallery, Los Angeles. Photo: silversalt photography.
Installation view: Sam Falls, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Eva Presenhuber, Zürich; Galleria Franco Noero, Turin; and Hannah Hoffman Gallery, Los Angeles. Photo: silversalt photography.
Installation view: Sam Falls, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Eva Presenhuber, Zürich; Galleria Franco Noero, Turin; and Hannah Hoffman Gallery, Los Angeles. Photo: silversalt photography.
Installation view: Sam Falls, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Galerie Eva Presenhuber, Zürich; Galleria Franco Noero, Turin; and Hannah Hoffman Gallery, Los Angeles. Photo: silversalt photography.
Marco Fusinato, 'Constellations' (2015/2018). Baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels. Installation: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photo: silversalt photography.
Marco Fusinato, 'Constellations' (2015/2018). Baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels. Installation: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photo: silversalt photography.
Marco Fusinato, 'Constellations' (2015/2018). Baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels. Installation: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photo: silversalt photography.
Nguyen Trinh Thi, 'Letters from Panduranga' (2015). Single-channel video, colour and black-and-white, sound. 35 mins. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Nguyen Trinh Thi, 'Letters from Panduranga' (2015). Single-channel video, colour and black-and-white, sound. 35 mins. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Chen Shaoxiong, 'The Views' (2016). Four-channel video installation. 2.5 x 3 m. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy Pékin Fine Arts, Beijing. Collection of Luo Qingmin. Photo: Zan Wimberley.
Laurent Grasso, 'Otto' (2018). HD video. 21:26 mins. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Edouard Malingue Gallery, Hong Kong and Shanghai; Sean Kelly Gallery, New York; and Galerie Perrotin, New York, Paris, Hong Kong, Seoul and Tokyo. Photo: Zan Wimberley.
Semiconductor, 'Earthworks' (2016). Five-channel computer generated animation with four-channel surround sound. 11:20 mins. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artists. Photo: Zan Wimberley.
Michael Stevenson, 'Serene Velocity in Practice: MC510/CS183' (2017). Mixed-media installation. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Carl Freedman Gallery, London; Darren Knight Gallery, Sydney; and Michael Lett Gallery, Auckland. Photo: silversalt photography.
Michael Stevenson, 'Serene Velocity in Practice: MC510/CS183' (2017). Mixed-media installation. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Carl Freedman Gallery, London; Darren Knight Gallery, Sydney; and Michael Lett Gallery, Auckland. Photo: silversalt photography.
Michael Stevenson, 'Serene Velocity in Practice: MC510/CS183' (2017). Mixed-media installation. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Carl Freedman Gallery, London; Darren Knight Gallery, Sydney; and Michael Lett Gallery, Auckland. Photo: silversalt photography.
Michael Stevenson, 'Serene Velocity in Practice: MC510/CS183' (2017). Mixed-media installation. Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist; Carl Freedman Gallery, London; Darren Knight Gallery, Sydney; and Michael Lett Gallery, Auckland. Photo: silversalt photography.
Installation view: George Tjungurrayi, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Utopia Art Sydney. Photo: Zan Wimberley.
Installation view: George Tjungurrayi, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Utopia Art Sydney. Photo: Zan Wimberley.
Installation view: George Tjungurrayi, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Utopia Art Sydney. Photo: Zan Wimberley.
Installation view: George Tjungurrayi, 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Courtesy the artist and Utopia Art Sydney. Photo: Zan Wimberley.
Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Yasmin Smith, 'Drowned River Valley' (2018). Ceramic installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and The Commercial, Sydney. Photo: silversalt photography.
Yasmin Smith, 'Drowned River Valley' (2018). Ceramic installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and The Commercial, Sydney. Photo: silversalt photography.
Yasmin Smith, 'Drowned River Valley' (2018). Ceramic installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and The Commercial, Sydney. Photo: silversalt photography.
Julian Abraham 'Togar', 'Diabethanol' (2018). Mixed media installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Julian Abraham 'Togar', 'Diabethanol' (2018). Mixed media installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Julian Abraham 'Togar', 'Diabethanol' (2018). Mixed media installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Julian Abraham 'Togar', 'Diabethanol' (2018). Mixed media installation. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ai Weiwei, 'Law of the Journey' (2017). Reinforced PVC with aluminium frame, 312 figures. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and neugerriemschneider, Berlin. Photo: Document Photography.
Anya Gallaccio, 'Beautiful Minds' (2015/2018). Aluminium, clay, pump, software. 5 x 5 x 5 m. Courtesy the artist and Thomas Dane Gallery, London; Blum & Poe, Los Angeles; Annet Gelink, Amsterdam; and Lehmann Maupin, New York and Hong Kong. Photo: silversalt photography.
Anya Gallaccio, 'Beautiful Minds' (2015/2018). Aluminium, clay, pump, software. 5 x 5 x 5 m. Courtesy the artist and Thomas Dane Gallery, London; Blum & Poe, Los Angeles; Annet Gelink, Amsterdam; and Lehmann Maupin, New York and Hong Kong. Photo: silversalt photography.
Anya Gallaccio, 'Beautiful Minds' (2015/2018). Aluminium, clay, pump, software. 5 x 5 x 5 m. Courtesy the artist and Thomas Dane Gallery, London; Blum & Poe, Los Angeles; Annet Gelink, Amsterdam; and Lehmann Maupin, New York and Hong Kong. Photo: silversalt photography.
Anya Gallaccio, 'Beautiful Minds' (2015/2018). Aluminium, clay, pump, software. 5 x 5 x 5 m. Courtesy the artist and Thomas Dane Gallery, London; Blum & Poe, Los Angeles; Annet Gelink, Amsterdam; and Lehmann Maupin, New York and Hong Kong. Photo: silversalt photography.
Ai Weiwei, 'Law of the Journey' (2017). Reinforced PVC with aluminium frame, 312 figures. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and neugerriemschneider, Berlin. Photo: Document Photography.
Ai Weiwei, 'Law of the Journey' (2017). Reinforced PVC with aluminium frame, 312 figures. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and neugerriemschneider, Berlin. Photo: Document Photography.
Ai Weiwei, Series of photographs taken by Ai Weiwei during the filming of the documentary 'Human Flow' (2016). Wallpaper. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and neugerriemschneider, Berlin. Photo: Document Photography.
Suzanne Lacy, 'The Circle and the Square' (2016). Performance, video installation, two year project, three-day performance, one week video installation. Courtesy the artist. Photo: silversalt photography.
Suzanne Lacy, 'The Circle and the Square' (2016). Performance, video installation, two year project, three-day performance, one week video installation. Courtesy the artist. Photo: silversalt photography.
Suzanne Lacy, 'The Circle and the Square' (2016). Performance, video installation, two year project, three-day performance, one week video installation. Courtesy the artist. Photo: silversalt photography.
Installation view: Abraham Cruzvillegas, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; kurimanzutto, Mexico City; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; and Thomas Dane, London. Photo: Document Photography.
Khaled Sabsabi, 'Bring the Silence' (2018). Five-channel HD video installation with audio. 11:30 mins, infinite loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Milani Gallery, Brisbane. Photo: silversalt photography.
Khaled Sabsabi, 'Bring the Silence' (2018). Five-channel HD video installation with audio. 11:30 mins, infinite loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Milani Gallery, Brisbane. Photo: silversalt photography.
Khaled Sabsabi, 'Bring the Silence' (2018). Five-channel HD video installation with audio. 11:30 mins, infinite loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Milani Gallery, Brisbane. Photo: silversalt photography.
Khaled Sabsabi, 'Bring the Silence' (2018). Five-channel HD video installation with audio. 11:30 mins, infinite loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Milani Gallery, Brisbane. Photo: silversalt photography.
Installation view: Abraham Cruzvillegas, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; kurimanzutto, Mexico City; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; and Thomas Dane, London. Photo: Document Photography.
Nicholas Mangan, 'A World Undone' (2012). HD video, colour, silent. 12 mins, continuous loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Copyright © Ryan Gander. Courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City. Photo: silversalt photography.
Nicholas Mangan, 'A World Undone' (2012). HD video, colour, silent. 12 mins, continuous loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Copyright © Ryan Gander. Courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City. Photo: silversalt photography.
Nicholas Mangan, 'A World Undone' (2012). HD video, colour, silent. 12 mins, continuous loop. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Copyright © Ryan Gander. Courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City. Photo: silversalt photography.
Installation view: Abraham Cruzvillegas, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; kurimanzutto, Mexico City; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; and Thomas Dane, London. Photo: Document Photography.
Ryan Gander, 'Other Places' (2018). An artificial landscape of untouched snow covering a recreation of the terrain of the streets in which the artist played as a child, within which a series of sculptures, gestures and interventions have been situated. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ryan Gander, 'Other Places' (2018). An artificial landscape of untouched snow covering a recreation of the terrain of the streets in which the artist played as a child, within which a series of sculptures, gestures and interventions have been situated. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ryan Gander, 'Forces outside of you (Because you cede your life decisions and consequences to forces outside of you)' (2017). Three winding steps leading to a shape resembling a door set against the gallery wall, emitting a glow that is the colour of daylight. 8.5 x 25.5 x 11.9 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; TARO NASU Gallery, Tokyo and Lisson Gallery, London and New York. Photo: silversalt photography.
Ryan Gander, 'Up ended Breuer chair after several inches of snowball' (2016). A Wassily Model B3 chair designed in 1926 by Marcel Breuer, up ended onto its front, on top of which cast marble resin sits representing several inches of snowfall. 86 x 80 x 73.5 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; TARO NASU Gallery, Tokyo and Lisson Gallery, London and New York. Photo: silversalt photography.
Yukinori Yanagi, 'Icarus Container' (2018). Steel, mirror, ground glass, video, sound. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Yukinori Yanagi, 'Absolute Dud' (2016). Iron. 75 x 312 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Yukinori Yanagi, 'Icarus Container' (detail) (2018). Steel, mirror, ground glass, video, sound. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Yukinori Yanagi, 'Landscape with an Eye' (2018). Video projection of 2.5 m (diameter) acrylic dome. 14:51 mins. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ami Inoue, 'The Life of the Hunter' (2016). Video. 6:51 mins. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Ami Inoue, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Tawatchai Puntusawasdi, 'Super Moon 2:1' (2018). Brass. 180 x 80 x 200 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tawatchai Puntusawasdi, 'Super Moon 2:1' (2018). Brass. 180 x 80 x 200 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tawatchai Puntusawasdi, 'A Dim Night 1:1' (2018). Brass and nickel alloy. 90 x 40 x 100 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Tawatchai Puntusawasdi, 'Super Moon 2:1' (2018). Brass. 180 x 80 x 200 cm. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Mit Jai Inn, 'Planes (Hover, Erupt, Erode)' (2018). Mixed media installation with paintings. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and SA SA BASSAC, Phnom Penh. Photo: Document Photography.
Mit Jai Inn, 'Planes (Hover, Erupt, Erode)' (2018). Mixed media installation with paintings. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and SA SA BASSAC, Phnom Penh. Photo: Document Photography.
Mit Jai Inn, 'Planes (Hover, Erupt, Erode)' (2018). Mixed media installation with paintings. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and SA SA BASSAC, Phnom Penh. Photo: Document Photography.
Mit Jai Inn, 'Planes (Hover, Erupt, Erode)' (2018). Mixed media installation with paintings. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and SA SA BASSAC, Phnom Penh. Photo: Document Photography.
Koji Ryui, 'Jamais vu' (2018). Mixed-media installation with sound. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Sarah Cottier Gallery, Sydney. Photo: Document Photography.
Koji Ryui, 'Jamais vu' (2018). Mixed-media installation with sound. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Sarah Cottier Gallery, Sydney. Photo: Document Photography.
Kate Newby, 'A rock in this pocket.' (2018). Bricks, glass, ceramics, metal. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; Michael Lett, Auckland; and Fine Arts, Sydney. Photo: silversalt photography.
Kate Newby, 'A rock in this pocket.' (2018). Bricks, glass, ceramics, metal. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; Michael Lett, Auckland; and Fine Arts, Sydney. Photo: silversalt photography.
Kate Newby, 'A rock in this pocket.' (2018). Bricks, glass, ceramics, metal. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; Michael Lett, Auckland; and Fine Arts, Sydney. Photo: silversalt photography.
Martin Walde, 'Timeline' (2006–18). Installation with printer. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Krinzinger, Vienna. Photo: Document Photography.
Su-Mei Tse, 'Gewisse Rahmenbedingungen 3 (A Certain Frame Work 3), Altes Museum _ Villa Farnesina _ Villa Adriana' (2015–17). Three colour video projections, silent. 4:27 mins, looped; 3:51 mins, looped; 3:20 mins, looped. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; AD Gallery, Athens; Galerie Tschudi Zuoz, Switzerland; and Edouard Malingue Gallery, Hong Kong. Photo: silversalt photography.
Su-Mei Tse, 'Gewisse Rahmenbedingungen 3 (A Certain Frame Work 3), Altes Museum _ Villa Farnesina _ Villa Adriana' (2015–17). Three colour video projections, silent. 4:27 mins, looped; 3:51 mins, looped; 3:20 mins, looped. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; AD Gallery, Athens; Galerie Tschudi Zuoz, Switzerland; and Edouard Malingue Gallery, Hong Kong. Photo: silversalt photography.
Su-Mei Tse, 'Gewisse Rahmenbedingungen 3 (A Certain Frame Work 3), Altes Museum _ Villa Farnesina _ Villa Adriana' (2015–17). Three colour video projections, silent. 4:27 mins, looped; 3:51 mins, looped; 3:20 mins, looped. Installation view: 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist; AD Gallery, Athens; Galerie Tschudi Zuoz, Switzerland; and Edouard Malingue Gallery, Hong Kong. Photo: silversalt photography.
Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Yarrenyty Arltere Artists, 'In Our Hands' (2018). Soft sculptures made with bush dyed woollen blankets, embellished with wool and feathers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artists and Yarrenyty Arltere Artists, Alice Springs. Photo: Document Photography.
Yarrenyty Arltere Artists, 'In Our Hands' (2018). Soft sculptures made with bush dyed woollen blankets, embellished with wool and feathers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artists and Yarrenyty Arltere Artists, Alice Springs. Photo: Document Photography.
Yarrenyty Arltere Artists, 'In Our Hands' (2018). Soft sculptures made with bush dyed woollen blankets, embellished with wool and feathers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artists and Yarrenyty Arltere Artists, Alice Springs. Photo: Document Photography.
Jacob Kirkegaard, 'Through the Wall' (2013). Installation, 26-minute composition from field recordings, looped. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Gallery Tom Christoffersen, Copenhagen. Photo: Document Photography.
Jacob Kirkegaard, 'Through the Wall' (2013). Installation, 26-minute composition from field recordings, looped. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Gallery Tom Christoffersen, Copenhagen. Photo: Document Photography.
Jacob Kirkegaard, 'Through the Wall' (2013). Installation, 26-minute composition from field recordings, looped. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Gallery Tom Christoffersen, Copenhagen. Photo: Document Photography.
Chia-Wei Hsu, 'Ruins of the Intelligence Bureau' (2015). Video installation with architectural drawings. 13:30 mins. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Liang Gallery, Taipei. Photo: Document Photography.
Chia-Wei Hsu, 'Ruins of the Intelligence Bureau' (2015). Video installation with architectural drawings. 13:30 mins. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Liang Gallery, Taipei. Photo: Document Photography.
Marjolijn Dijkman, 'Navigating Polarities' (2018). Installation with film projection, wall text. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Marjolijn Dijkman, 'Navigating Polarities' (2018). Installation with film projection, wall text. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Installation view: Marc Bauer, 21st Biennale of Syndey, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Peter Kilchmann, Zürich. Photo: Document Photography.
Marc Bauer, 'Arsenal Shipyard Brest Brittany France' (2018). Wall drawing, charcoal. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Peter Kilchmann, Zürich. Photo: Document Photography.
Installation view: Marc Bauer, 21st Biennale of Syndey, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Peter Kilchmann, Zürich. Photo: Document Photography.
Installation view: Marc Bauer, 21st Biennale of Syndey, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Peter Kilchmann, Zürich. Photo: Document Photography.
Installation view: Maria Taniguchi, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Silverlens Galleries, Manila; and Taka Ishii Gallery, Tokyo. Photo: Document Photography.
Maria Taniguchi, 'Runaways' (2018). Java plum wood. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Silverlens Galleries, Manila; and Taka Ishii Gallery, Tokyo. Photo: Document Photography.
Installation view: Maria Taniguchi, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Silverlens Galleries, Manila; and Taka Ishii Gallery, Tokyo. Photo: Document Photography.
Simryn Gill, 'Carbon Copy' (1998). Ink and carbon on paper; words from press statements and speeches of Mahathir Mohamad and Pauline Hanson. 53 parts: 39.5 x 29 cm each. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Jhaveri Contemporary, Mumbai; Tracy Williams Ltd, New York; and Utopia Art Sydney. Collection of the Museum of Contemporary Art Australia. Photo: Document Photography.
Simryn Gill, 'Carbon Copy' (1998). Ink and carbon on paper; words from press statements and speeches of Mahathir Mohamad and Pauline Hanson. 53 parts: 39.5 x 29 cm each. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Jhaveri Contemporary, Mumbai; Tracy Williams Ltd, New York; and Utopia Art Sydney. Collection of the Museum of Contemporary Art Australia. Photo: Document Photography.
Simryn Gill, 'Carbon Copy' (1998). Ink and carbon on paper; words from press statements and speeches of Mahathir Mohamad and Pauline Hanson. 53 parts: 39.5 x 29 cm each. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Jhaveri Contemporary, Mumbai; Tracy Williams Ltd, New York; and Utopia Art Sydney. Collection of the Museum of Contemporary Art Australia. Photo: Document Photography.
Brook Andrew, 'What's Left Behind' (2018). Mixed-media installation. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels. Photo: Document Photography.
Brook Andrew, 'What's Left Behind' (2018). Mixed-media installation. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels. Photo: Document Photography.
Brook Andrew, 'What's Left Behind' (2018). Mixed-media installation. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels. Photo: Document Photography.
Installation view: Yvonne Koolmatrie, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy 21st Biennale of Sydney. Photo: Document Photography.
Installation view: Yvonne Koolmatrie, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy 21st Biennale of Sydney. Photo: Document Photography.
Installation view: Haegue Yang, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy 21st Biennale of Sydney. Photo: Document Photography.
Installation view: Haegue Yang, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy 21st Biennale of Sydney. Photo: Document Photography.
Tom Nicholson, 'Untitled wall drawing' (2009–18). Pencil wall drawing. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Collection of the Museum of Contemporary Art Australia. Photo: Document Photography.
Tom Nicholson, 'Untitled wall drawing' (2009–18). Pencil wall drawing. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Collection of the Museum of Contemporary Art Australia. Photo: Document Photography.
Liza Lou, 'The Clouds' (2015–18). Oil paint on woven glass beads. 35 x 2 m. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Photo: Document Photography.
Liza Lou, 'The Clouds' (2015–18). Oil paint on woven glass beads. 35 x 2 m. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Photo: Document Photography.
Liza Lou, 'The Clouds' (2015–18). Oil paint on woven glass beads. 35 x 2 m. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Photo: Document Photography.
Sosa Joseph, 'Anywhere But Nowhere' (2018). Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Mirchandani + Steinruecke, Mumbai. Photo: Document Photography.
Sosa Joseph, 'Anywhere But Nowhere' (2018). Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Galerie Mirchandani + Steinruecke, Mumbai. Photo: Document Photography.
Installation view: Nicole Wong, 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Rossi & Rossi, Hong Kong and London. Photo: Document Photography.
Esme Timbery, 'Shellworked slippers' (2008). Shell, glitter, fabric, cardboard and glue. 200 pairs: 5 x 9.5 x 6 cm each. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: Document Photography.
Ciara Phillips, 'Workshop' (2010–ongoing). Installation and print studio. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ciara Phillips, 'Workshop' (2010–ongoing). Installation and print studio. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Ciara Phillips, 'Workshop' (2010–ongoing). Installation and print studio. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Tuomas Aleksander Laitinen, 'Dossier of Osmosis' (2018). Mixed-media installation with ultrasonic speakers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Helsinki Contemporary, Finland. Photo: Document Photography.
Tuomas Aleksander Laitinen, 'Dossier of Osmosis' (2018). Mixed-media installation with ultrasonic speakers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Helsinki Contemporary, Finland. Photo: Document Photography.
Tuomas Aleksander Laitinen, 'Dossier of Osmosis' (2018). Mixed-media installation with ultrasonic speakers. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy the artist and Helsinki Contemporary, Finland. Photo: Document Photography.
Svay Sareth, 'Prendre les Mesures' (2015). Single-channel HD video, colour, sound, needle, archival material. 65:25 mins. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy of the artist and SA SA BASSAC, Phnom Penh. Photo: silversalt photography.
Svay Sareth, 'Prendre les Mesures' (2015). Single-channel HD video, colour, sound, needle, archival material. 65:25 mins. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy of the artist and SA SA BASSAC, Phnom Penh. Photo: silversalt photography.
Svay Sareth, 'Prendre les Mesures' (2015). Single-channel HD video, colour, sound, needle, archival material. 65:25 mins. Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Courtesy of the artist and SA SA BASSAC, Phnom Penh. Photo: silversalt photography.
Rayyane Tabet, 'Dear Mr. Utzon' (2018). Performance, podcast, 45 mins, reproduced 'Bring Utzon Back' leaflets. Installation view: 21st Biennale of Sydney, Sydney Opera House, Sydney. Courtesy the artist and Sfeir-Semler Gallery, Hamburg and Beirut. Photo: silversalt photography.
Rayyane Tabet, 'Dear Mr. Utzon' (2018). Performance, podcast, 45 mins, reproduced 'Bring Utzon Back' leaflets. Installation view: 21st Biennale of Sydney, Sydney Opera House, Sydney. Courtesy the artist and Sfeir-Semler Gallery, Hamburg and Beirut. Photo: silversalt photography.
Rayyane Tabet, 'Dear Mr. Utzon' (2018). Performance, podcast, 45 mins, reproduced 'Bring Utzon Back' leaflets. Installation view: 21st Biennale of Sydney, Sydney Opera House, Sydney. Courtesy the artist and Sfeir-Semler Gallery, Hamburg and Beirut. Photo: silversalt photography.
Rayyane Tabet, 'Dear Mr. Utzon' (2018). Performance, podcast, 45 mins, reproduced 'Bring Utzon Back' leaflets. Installation view: 21st Biennale of Sydney, Sydney Opera House, Sydney. Courtesy the artist and Sfeir-Semler Gallery, Hamburg and Beirut. Photo: silversalt photography.

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