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the idea is that the Biennale brings art, which is at the edge, more into the centre of focus.

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850000 people visited the varios sites

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69 artists, 35 countries, 24 Australian
artists, 16 indigenous artists, 300 + new works

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For the Biennale of Sydney the Parrarmatta Female Factory precinct and PYT fairfield had artist Bonney Djuric, Brianna Munting, Karen Therese and Katy Green Loughrey work together to make something for the Beinnale. The Parrarmatta Female Factory precinct and PYT fairfield is a group kknow internationaly for their "model of practice predicated in ethics, care and agency.' They also work a lot with women and young people to teach them about the history of those who have been marginalised, confined and oppressed within other institutions.

BE., NIRIN collaborated with Noakes Group to create a sailing vessel to revive the memory of women tattooing practice after being outlawed during colonisation. The group consistence of artists Grace Dlabik, Paige Uāmaki- Mu, Tavao Lilia Fa'avae-Eli, Fern Ngatai and Aunty Sana Balai. The ships name is Haiveta;  in Toaripi 'Hai' meaning heart and 'Haiveta' meaning heartfelt comforter.

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Through Google Arts and Culture

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An anonymous arts collective from Sweden

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Headline - Aboriginal artist and provocateur Brook Andrew on shaking up the Sydney Biennale. He’s the first Indigenous artist to be appointed to lead the Biennale of Sydney. But labels are the last thing Brook Andrew is interested in.

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An avid collector, Andrew has amassed a personal compendium of cultural objects, print articles, photographs, postcards and other items that make up the raw material he draws on to create installations and assemblages that aim to throw light on the darkest, most obscure aspects of history.

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Award winning political cartoonist who writes for the Gurardian. (SFrost)

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Since its inception in 1973, it has provided a global platform for art and ideas, showcasing the work of over 1,800 artists from more than 100 countries.

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By Ibrahim Mahama

Ibrahim Mahama

Born 1987 in Tamale, Ghana
Lives and works in Tamale, Accra and Kumasi, Ghana

“Freedom and Justice for all including the so called ‘non-life’. For it is within these moments that we shift perceptions and expand upon our values of respect. Let’s aim to truly democratise form and the many hands they emerge from.”

Ibrahim Mahama’s largescale, immersive installation No friend but the mountains 2012-20, 2020 dresses the entirety of the interior Turbine Hall at Cockatoo Island with jute sacks. A crowded patchwork of rich, brown colour and rough and smooth planes, together their marked surfaces mime the gritty materiality and architecture of the former shipyard and penal colony, to reference and stir the histories of labour and incarceration that lay dormant on the island. This work continues Mahama’s material investigation into labour, economic history and production. Taking an almost forensic approach, the artist sees the surfaces of these materials as holding and bearing the physical markers, smells and traces of the networks and industries they previously moved through. No friend but the mountains 2012-20 privileges the private lives of ordinary materials, and their ability to communicate urgent and complex histories to us, expanding our knowing of and being within an interconnected and inherently entangled world.

Added by Naomi

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Ibrahim Mahama - No Friend but the mountains

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His work at the 2020 Biennale is called Healing Land, Remembering Country. Its an interactive installation which feature han woven baskets and kangaroo grass. (SFrost)

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Art Gallery NSW is showing 21 artists in association with the Bienalle.

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three painted larrakitj – memorial poles made from hollow Stringybark

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three painted larrakitj – memorial poles made from hollow Stringybark

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Noŋgirrŋa Marawili

Born on the beach at Darrpirra, North of Cape Shield, Australia on the ocean side. As a child lived wakir’ (camping / moving around) at Maḏarrpa clan-related sites between Blue Mud Bay and Groote Eyelandt, Australia
Lives and Works at Yirrkala and Wandawuy, Australia

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Remark, 10 November - 10 December 2022, Sullivan+Strumpf, Melbourne

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By Charlotte Allingham

Born 1993 in Moruya, Australia
Lives and works in Naarm / Melbourne, Australia
Wiradjuri and Ngiyampaa

Across illustrations, zines and comics, Charlotte Allingham creates graphic works deeply reflective of her thoughts connecting to culture, identity, the broader impacts of colonisation and how one can activate change.

At the centre of the frame, Allingham’s works often place Indigenous women within landscapes, with animals, at front-line protests or in intimate conversations. These deeply personal scenes present clear definitions of self-empowerment and freedom, offering guidance, suggesting actions and philosophies of how histories can be re-read, and how the individual’s personal aches can be shared as a moment of relief and acknowledgement.

The works in this installation were commissioned to respond to the seven themes of NIRIN. Using only Wiradjuri words, these works beautifully unfold the way these themes are interrelated and centred in an interconnected way of being.

DHAAGUN | My ancestors, roots steaming from the soles of my feet, deep deep. red dirt.

BAGARAY-BANG | Allowing my heart to feel the wind, the way it whispers through my pain, I hear the broken pieces coming together. one piece. two pieces.

YIRAWY–DHURAY | My body needs. My soul needs. Connect. Connect. I hear you.

GURRAY | In this I will come through, powerful and brave. Through this I will become. Transcend this. Transform aspects to grow another.

NGAWAAL-GUYUNGAN | Resist. My voice gives home to my ideas, to stand against the colony, and will not falter, for I am who I am. My father's daughter. the design of my ancestors.

BILA | The river that flows through my country, like the blood. Keep me surviving. I hear you, just as my grandmother does from her house. I am far, but you are here. I hear you.

Charlotte Allingham is a 26-year-old Wiradjuri, Ngiyampaa woman from New South Wales, with family ties to Condobolin and Ivanhoe. She currently lives in Naarm, creating Illustrations about her culture and identity, and the impacts of colonisation.

Added by Naomi

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Charlotte Allingham - Dhaagun, 2020. Digital Print

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This location is no longer showing the works for the Biennale. They are instead being re-located to another venue for the extended exhibition period. (I assume this is due to COVID?)(SFrost)