Relevant bibliographies by topics / Biennale of Sydney

Academic literature on the topic 'Biennale of Sydney'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Biennale of Sydney"

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Begg, Zanny, and Ahmet Öğüt. "In and Out of the Biennale: Transfield, Mandatory Detention, and the Biennale of Sydney." Afterimage 42, no. 2 (September 1, 2014): 4–7. http://dx.doi.org/10.1525/aft.2014.42.2.4.

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Stephens, Murdoch, and Shannon Te Ao. "Unwelcome guests: Hospitality, asylum seekers and art at the 19th Biennale of Sydney." Hospitality & Society 4, no. 2 (June 1, 2014): 193–202. http://dx.doi.org/10.1386/hosp.4.2.193_7.

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Murphy, Carolyn, and Analiese Treacy. "Drawings you can walk on – Mike Parr and the 20th Biennale of Sydney 2016." AICCM Bulletin 39, no. 2 (July 3, 2018): 76–85. http://dx.doi.org/10.1080/10344233.2018.1507504.

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A4C #ArtsFortheCommons. "Vilcabamba: de iura fluminis et Terrae." post(s) 8 (December 15, 2022): 216–23. http://dx.doi.org/10.18272/posts.v8i8.2662.

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Vilcabamba: de iura flumnis et Terrae. A Chamber Music Piece in Two Acts and Intermezzo is an artistic project aimed at bringing the voices of rivers to the 23rd Biennale of Sydney. The work is inspired by a critical cartography approach, or what Nato Thompson and Trevor Paglen define as “experimental geography” to offer the opportunity to “rethink” the world, the plurality of worlds, and epistemologies that concur to reshape relations between humans and ecosystems. In this context, indigenous peoples recur to GIS (Geographic Information System, currently used, among others, to identify potential sacrifice zones for resource extraction) to challenge the dominant colonial-settler use and vision of land and territories and mainstream their cosmology, traditional knowledge, and livelihoods. Similarly, GPS (Geographic Positioning System) coordinates can be “hacked” to bring to light struggles for the recognition of the Rights of Nature and legal personhood of ecosystems, while advancing an imagery that aims to liberate political imagination and the voice of those ecosystems. Hacking geospatial technologies can offer the possibility for the non-human to be represented or to emerge, and hence challenge the dominant epistemology, creating a sort of “placement-displacement” circle, whereas the definition of a place brings with it a “displacement” of its canonical representation.
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Rey, Una. "Brook Andrew, 22nd Biennale of Sydney: NIRIN, Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art, National Art School (Reopened at Carriageworks), 2020, 14 March–6 September 2020." Australian and New Zealand Journal of Art 20, no. 2 (July 2, 2020): 288–92. http://dx.doi.org/10.1080/14434318.2020.1837381.

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Bourne, Chris, Barry Edwards, Miranda Shaw, Andrew Gowers, Craig Rodgers, and Mark Ferson. "Sexually transmissible infection testing guidelines for men who have sex with men." Sexual Health 5, no. 2 (2008): 189. http://dx.doi.org/10.1071/sh07092.

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Since 2002, biennial production of sexually transmissible infection testing guidelines for men who have sex with men has supported sexually transmitted infection control efforts in inner Sydney, Australia.
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Griffin, Brenden J. "Meeting of the Australian Scanned Probe Microscope Society, University of Sydney, February 16–19, 1999: Introduction." Microscopy and Microanalysis 6, no. 2 (March 2000): 103. http://dx.doi.org/10.1007/s100059910015.

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In February 1999, the second Scanned Probe Microscopy conference (SPM II) of the Australian Scanned Probe Microscope Society was held in Sydney, Australia, in conjunction with the fifth biennial symposium of the Australian Microbeam Analysis Society (AMAS V). This issue of Microscopy and Microanalysis presents selected full-length papers arising from that meeting.
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Sternfeld, Nora. "Assembling and disassembling." MODOS: Revista de História da Arte 5, no. 2 (May 14, 2021): 133–41. http://dx.doi.org/10.20396/modos.v5i2.8665519.

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“Towards the end of the first decade of the twenty-first century”, as Anthony Gardner and Charles Green propose, “biennials became self-conscious.” Increasingly they are reflecting on themselves as "hegemonic machines" (Oliver Marchart), and for this very reason also understand themselves as places of intervention. We have to come to terms with the fact that biennials today are both: "Brands and Sites of Resistance", "Spaces of Capital and Hope" (Panos Kompatsiaris).The article follows withdrawals and protests as well as interventions and strategies of appropriation of biennials in the second decade of the 21st century. Protests in St. Petersburg, Sydney and New York shape the biennials they boycott. In Kochi, Athens, Dhaka, and Kassel we encounter curatorial projects that challenge the apparatus of value coding. The relationship between bottom up and top down often becomes blurred. In Prague, Warsaw, Kiev, and Budapest it is even reversed. Here biennials are used as a means of counter-hegemony and institutional survival.
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Griffin, Brenden J. "Meeting of the Australian Microbeam Analysis Society, University of Sydney, February 16–19, 1999: Introduction." Microscopy and Microanalysis 6, no. 1 (January 2000): 11. http://dx.doi.org/10.1017/s1431927600010114.

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In February 1999, an international workshop on environmental scanning electron microscopy (ESEM) was held following the fifth biennial symposium of the Australian Microbeam Analysis Society (AMAS V) in Sydney, Australia. In conjunction with this meeting was the second conference of the Australian Scanned Probe Microscope Society (SPM II). The coincidence of timing allowed a strong international flavor at these sessions, which attracted 160 microscopists and microanalysts from around the world. This issue of Microscopy and Microanalysis presents a selection of full-length papers on ESEM, and the following issue will feature full-length papers from SPM II.
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Thomson, Chihiro Kinoshita, and Elise K. Tipton. "The 2001 Biennial Conference of the Japanese Studies Association of Australia in Sydney." Japanese Studies 22, no. 2 (September 2002): 111–12. http://dx.doi.org/10.1080/1037139022000016537.

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Dissertations / Theses on the topic "Biennale of Sydney"

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Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history." Phd thesis, 2009. http://hdl.handle.net/1885/7452.

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The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom. Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works. In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis. Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.
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Books on the topic "Biennale of Sydney"

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Isabel, Carlos, Art Gallery of New South Wales., and Museum of Contemporary Art (Sydney, N.S.W.), eds. On reason and emotion: Biennale of Sydney 2004. [Sydney]: Biennale of Sydney Ltd., 2004.

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Biennale of Sydney (9th 1992 Art Gallery of New South Wales). The Boundary rider: 9th Biennale of Sydney, 15 December 1992-14 March 1993. Sydney: Biennale of Sydney, 1992.

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Sydney, Australia) Australian Conference on Optical Fibre Technology (27th 2002. Proceedings of the 27th Australian Conference on Optical Fibre Technology: Co-located with the Australian Institute of Physics, 15th Biennial Congress 2002 : Sydney Convention & Exhibition Centre, Darling harbour, Sydney, New South Wales, Monday, 8 July to Thursday, 11 July 2002. Sydney?]: Photonics Institute, 2002.

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Papua New Guinea. National Parliament. Parliamentary Committee on Public Accounts. A brief report by the Chairman of the Public Accounts Committee on the attendance of the Tenth Biennial Conference of the Australian Council of Public Accounts Committees held in Sydney, Australia: Presented on. Papua New Guinea: National Parliament of Papua New Guinea, 1997.

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Raedecker, Michael, Bruce Nauman, Francis Alys, Jens Haaning, Luca Belgiorno-Nettis, De Rooij & De Rijke, and Jimmie Durham. Biennale Of Sydney 2004. Biennale of Sydney, 2004.

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Biennale of Sydney, (12th : 2000), ed. Biennale of Sydney 2000. Sydney: Biennale of Sydney, 2000.

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11th Sydney Biennale - Every Day: Everyday. Art Data, 1998.

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8

18th Biennale Of Sydney All Our Relations. 18th Biennale of Sydney, 2012.

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Haines, David, James Angus, Glenn Brown, George Bures Miller, Luca Belgiorno-Nettis, Paul Etienne Lincoln, Gilles Barbier, et al. Biennale of Sydney 2002: (The World May Be) Fantastic. Biennale of Sydney, 2002.

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Biennale of Sydney (14th :, 2004), ed. In situ: On reason and emotion : Biennale of Sydney 4 Jun - 15 Aug, 2004. Sydney: Biennale of Sydney, 2004.

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Book chapters on the topic "Biennale of Sydney"

1

Patrick, Martin. "18th Biennale of Sydney (2012)." In The Performing Observer: Writings on Contemporary Art, Performance, and Photography, 221–23. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789386745_40.

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Bryant, Jan. "Still Deep in the Bones of the Bourgeoisie: Introduction." In Artmaking in the Age of Global Capitalism, 9–11. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456944.003.0014.

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The ‘gift of being disgusted’ is a challenge first raised by Walter Benjamin in the 1920s, insisting that each era has a responsibility to critically contest the inequalities of its time. This chapter looks at two 21st century art events, the 56th La Biennale di Venezia (2015), which had global politics as its core theme, and the 19th Biennale of Sydney (2014) that attracted artist boycotts as protest to successive Australian Governments’ treatment of asylum seekers. Venice and Sydney are examples of large publicly-funded art events that instrumentalise politics as spectacle. However, the experience of Sydney also revealed the chasm that often exists between a patron class and artists working on the ground. [113]
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Bryant, Jan. "Benjamin’s Challenge for the Twenty-first Century." In Artmaking in the Age of Global Capitalism, 12–16. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456944.003.0002.

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The 19th Biennale of Sydney, discussed in the last chapter, is a case study that reveals the way contemporary western governments are increasingly closing down public criticism. The tendency is to raise opaque screens over controversial actions, and to use financial retaliation as a method for keeping artists’ protests inside exhibiting contexts. This chapter looks at political theorists who write about the re-emergence of forms of authoritarianism, beginning with Nicos Poulantzas who argued as early as 1970 that a new form of fascism was materialising, and Michel Foucault’s warning that we each need to check our own fascist tendencies, no matter how private or small the context. More recent comments by Judith Butler and Madeline Albright insist on the danger of this burgeoning trend and the urgent need to fight it. Through the writings of Ronald F. Inglehart and Pippa Norris, this chapter also describes right populism as a prominent feature of western democracies, and the way concerns from climate change to human rights divide today along ideological, partisan lines. [170]
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