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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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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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4A Centre for Contemporary Asian Art, 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.
4A Centre for Contemporary Asian Art, 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.
4A Centre for Contemporary Asian Art, 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.
4A Centre for Contemporary Asian Art, 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.
4A Centre for Contemporary Asian Art, 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.
4A Centre for Contemporary Asian Art, 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.
Artspace, Installation view: 21st Biennale of Sydney, Art Space, Sydney (16 March–11 June 2018). Photo: Document Photography.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Artspace, 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.
Carriageworks, Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Carriageworks, Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Carriageworks, Installation view: 21st Biennale of Sydney, Carriageworks, Sydney (16 March–11 June 2018). Photo: Zan Wimberley.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Carriageworks, 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.
Cockatoo Island, Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, Installation view: Dimitar Solakov, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, Installation view: Ami Inoue, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, 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.
Cockatoo Island, Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Cockatoo Island, Installation view: Wong Hoy Cheong, 21st Biennale of Sydney, Cockatoo Island, Sydney (16 March–11 June 2018). Courtesy the artist. Photo: silversalt photography.
Museum of Contemporary Art Australia, Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Museum of Contemporary Art Australia, Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Museum of Contemporary Art Australia, Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Museum of Contemporary Art Australia, Installation view: 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney (16 March–11 June 2018). Photo: Document Photography.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Museum of Contemporary Art Australia, 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.
Sydney Opera House, 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.
Sydney Opera House, 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.
Sydney Opera House, 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.
Sydney Opera House, 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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