2014

19th Biennale of Sydney: Cockatoo Island highlights 

Biennale of Sydney

21 March 2014 - 9 June 2014

#19BOS (2014): Nathan Coley,YOU CREATE WHAT YOU WILL, 2014. Photograph: Tai Spruyt

Street View
#19BOS (2014):
- Nathan Coley,YOU CREATE WHAT YOU WILL, 2014.
- Joseph Griffiths, Ruins, 2014.

#19BOS (2014): Callum Morton, The Other Side , 2014.
Photographer: Sebastian Kriete

#19BOS (2014): Callum Morton, The Other Side , 2014.
Videographer: Sebastian Kriete

#19BOS (2014): Christine Streuli, gradually_real, 2014.
Photograph: Ben Symons

#19BOS (2014): Christine Streuli, gradually_real, 2014.
Photograph: Ben Symons

#19BOS (2014): Ross Manning, Spectra VI, 2014.
Photograph: Ben Symons

#19BOS (2014): Mikala Dwyer, The Hollows, 2014.

#19BOS (2014): Mikala Dwyer, The Hollows, 2014.

Mikala Dwyer sculpts air. Nestled between the internal columns of the historic Naval Store 2 building in the Docks Precinct of Cockatoo Island, the artist has created a new site-specific work.

Heating transparent, acrylic material to produce a kind of exoskeleton, Dwyer’s large and lumpy The Hollows (2014) fights for its own space, and occupies it in an act of bravura. Her shapes may seem fragile because of their transparency, but they are – like the methodology that has made them – strong, resilient and prepared to risk seeming impermanent in the face of immutable architecture.

Photograph: Tai Spruyt

Street View
#19BOS (2014): Mikala Dwyer, The Hollows, 2014.

#19BOS (2014): Mel O’Callaghan, Parade, 2014.
Photograph: Ben Symons

#19BOS (2014): Mel O’Callaghan, Parade, 2014.
Photograph: Ben Symons

#19BOS (2014): Joseph Griffiths, Ruins, 2014. Photograph: Ben Symons

#19BOS (2014): Augustin Rebetez and Noé Cauderay, Maison, 2012.


Using the most humble of materials, #19BOS artist duo Augustin Rebetez and Noé Cauderay have made their charming and, at times, eerie stop-animation film, Maison (2012).

We can imagine the same fate befalling some of the more derelict spaces on Cockatoo Island, a fitting venue for watching this enchanting piece that clearly evidences the time and effort of its creation.

Videography: Sebastian Kriete

#19BOS (2014): Hubert Czerepok, Let’s Change It All, 2014.
Photograph: Gunther Hung

#19BOS (2014): Hubert Czerepok, Let’s Change It All, 2014.


Czerepok often draws inspiration from the media, examining the contemporary representation of power. Let’s Change it All (2014) took place at Cockatoo Island on Sunday, 30 March and responded to the idea of protest and public demonstration as a negative activity.

People customarily remonstrate in objection to events, policies or situations; in Czerepok’s performance piece a group of children carry placards demanding positive things that would improve their lives.

Photograph: Gunther Hung

#19BOS (2014): Hubert Czerepok, Let’s Change It All, 2014.
Photograph: Gunther Hung

Watch & listen as Swiss artists Gerda Steiner & Jörg Lenzlinger discuss their #19BOS work Bush Power (2014).

The artists reveal the inspiration behind the mixed-media installation, the relevance of the title of the work, as well as the importance of producing a site-specific work at Cockatoo Island in relation to energy.

Videographer: Emma Sullivan

#19BOS (2014): Eva Koch, I AM THE RIVER, 2012.
Photograph: Tai Spruyt

Street View
#19BOS (2014): Eva Koch, I AM THE RIVER, 2012.

#19BOS (2014): Tori Wrånes, Stone and Singer, 2014.

During the opening weekend, Wrånes presented Stone and Singer (2014), a new performance developed for the 19th Biennale of Sydney.

In the grandeur of the Turbine Shop on Cockatoo Island, the artist faces danger head-on, taking the audience into a pre-modern place, into a world wonderful, dangerous and exhilarating. In this effort she is accompanied by a cast of brass players, and a menagerie of fantastical creatures who emerge from her playful psyche, linked to the folkloric traditions of hero helpers and the banished Jötnar race of Norse mythology.


Photograph: James Horan/Destination NSW

#19BOS (2014): Tori Wrånes, Stone and Singer, 2014.
Photograph: James Horan/Destination NSW

#19BOS (2014): Ignas Krunglevicius, Interrogation, 2009.

Interrogation (2009) by Ignas Krunglevicius is based on the police transcript of a 2004 murder investigation in the United States after Mary Kovic allegedly killed her husband with his own shotgun.

In the video work, all visual information is condensed and refined into lines of text from Kovic's interview. The simple aesthetic treatment allows the complex psychological exchange behind the words to seep through, drawing attention to what is omitted and unseen.

On Cockatoo Island, audiences encountered the work in a space where overcrowded prisons and underground isolation cells held many in similar circumstances.

Videography: Sebastian Kriete

#19BOS (2014): Zilla Leutenegger, Zilla’s House, 2014 (detail).

For #19BOS, Swiss artist Zilla Leutenegger transformed the existing architecture and furnishings of an old residential building on Cockatoo Island for a mixed-media, site-specific installation Zilla's House (2014), a work that combined drawings, sculpture and projections.

Leutenegger animated life back into these once quiet rooms, in her domestic phantasmagoria or shadow play.

Photograph: Tai Spruyt

#19BOS (2014): Zilla Leutenegger, Zilla’s House, 2014 (detail).
Photograph: Tai Spruyt

Street View
#19BOS (2014): Zilla Leutenegger, Zilla’s House, 2014.

#19BOS (2014): Randi & Katrine, The Village, 2014.

Collaborative artist duo Randi & Katrine continue their exploration of architecture as both a physical and mental space by creating a new, site-specific installation on Cockatoo Island – a scaled-down Danish village for viewers of all ages to explore.

Photograph: James Horan/Destination NSW

#19BOS (2014): Randi & Katrine, The Village, 2014.
Photograph: Tai Spruyt

#19BOS (2014): Matt Hinkley, Untitled, 2013.

For the 19th Biennale of Sydney, Melbourne-based Matt Hinkley presented a new series of sculptural works installed in the Industrial Precinct on Cockatoo Island.

Domestic in scale, the works are dwarfed by the vast and visually noisy space surrounding them, rewarding the intrepid viewer with a sense of discovery. Delicate objects in a rough urban environment, the sculptures represent order amid the chaos, quietly challenging our patience and perception.

Photograph: Tai Spruyt

#19BOS (2014): Yael Bartana, Inferno, 2013 (production still).
Photograph: Sebastian Kriete

#19BOS (2014): Yael Bartana, Inferno, 2013 (production still).
Photograph: Sebastian Kriete

#19BOS (2014): Ulla von Brandenburg, Street, Play, Way, 2014.

Ulla von Brandenburg works at the intersection of film, drawing, installation and performance, creating a highly imaginative and poetic body of work that reveals her background and interest in both fine art and theatre design.

For the 19th Biennale of Sydney, von Brandenburg presented a large new mixed-media, site-specific work on Cockatoo Island combining sculptural and filmic elements.

Photograph: Tai Spruyt

#19BOS (2014): Mikhail Karikis, Children of Unquiet, 2013–14 (video still).
Photograph: Sebastian Kriete

#19BOS (2014): Maxime Rossi, Two Owls on a Mountain, and a Snake at the Bank, 2012 (video still)

French artist Maxime Rossi presented Two Owls on a Mountain, and a Snake at the Bank (2012) on Cockatoo Island.

The video includes footage borrowed from Max Ernst: Mein Vagabundiere -- Mein Unruhe (My Vagabond -- My Unrest) made by Peter Schamoni in 1991. We see Ernst's car travelling, like a mirage or a vision from the past, amid the remarkable geological formations of Arizona's rocky hills.

Rossi's film meanders, as did Ernst, through the strangeness of this place to re-enact the moment of recognition and dislocation Ernst must have experienced when he first set eyes upon a place he had already imagined in his surreal desire.

Videographer: Sebastian Kriete

Street View
Convict Precinct, Upper Island

#19BOS (2014):
- Christine Streuli, gradually_real, 2014.

- Maxime Rossi, Two Owls on a Mountain, and a Snake at the Bank, 2012.

- Augustin Rebetez and Noé Cauderay, Maison, 2012.

- Victoria Pihl Lind, A Tone To Play – Abc According to Ingeborg Bachmann and Paul Celan, 2013.

#19BOS (2014): Victoria Pihl Lind, A Tone To Play – Abc According to Ingeborg Bachmann and Paul Celan, 2013 (video still).

The Austrian and Romanian poets Ingeborg Bachmann and Paul Celan were briefly lovers in Paris after the Second World War, but maintained a correspondence throughout their lives until Celan’s suicide in 1970.

Victoria Pihl Lind’s video work A Tone to Play – Abc According to Ingeborg Bachmann and Paul Celan (2013) takes inspiration from the many letters sent back and forth between the two and the intimate exchanges they shared.

Theirs was both a passionate affair and an intellectual meeting of minds, expressed through words and thoughts across distances and time. Each experienced estrangement from their place of origin and felt pulled between the circumstances and persecutions that characterised the wartime condition.

#19BOS (2014): Kate Daw, Green Lamp, 2013–14.

For the 19th Biennale of Sydney, Melbourne-based artist Kate Daw created a new site-specific installation, Green Lamp (2013–14), on Cockatoo Island.

As the title suggests, Daw has installed a green lamp in the small, open-air building attached to the old military guardhouse on the Upper Island. The light was turned on at dusk as the exhibition closed for the day and continued to shine throughout the night.

Photograph: Tai Spruyt

Street View
Upper Island

#19BOS (2014):
- Zilla Leutenegger, Zilla’s House, 2014.
- Kate Daw, Green Lamp, 2013–14.

Biennale of Sydney
Credits: Story

CREDITS: EXHIBIT
19th Biennale of Sydney: You Imagine What You Desire (2014)

Artistic Director: Juliana Engberg

Venues: Cockatoo Island

CREDITS: ALL MEDIA
The exhibit featured may in some cases have been created by an independent third party and may not always represent the views of the institution, listed above, who have supplied the content.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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