4A, SYDNEY PAVILION, SHANGHAI BIENNALE ARTIST ANNOUNCEMENT
4A Centre for Contemporary Asian Art is pleased to announce the official artist selection and curatorial concept for the Sydney Pavilion, to be presented at the 9th Shanghai Biennale, opening on 1 October 2012.
4A has been selected by the Shanghai Biennale to present the Sydney Pavilion, as part of the inaugural City Pavilions project, a new artistic component at this year’s Biennale. 4A’s curatorial framework and artist selection for the Sydney Pavilion is under the direction of Aaron Seeto (Curator, Sydney Pavilion), with Sharon Chen, (Curatorial Project Manager) and Toby Chapman (Assistant Curator).
Seeto announced today that the Sydney Pavilion will be titled The Floating Eye. The exhibition will take as it’s starting point the reorientation of geography in Australia, as a result of understanding recent history in the context of global and cultural connection, and the shifting unstable references at play in Australia’s oldest settler city.
Seeto states as his curatorial vision, that “in a location like Sydney, Australia, with its Aboriginal history, colonisation, waves of mass migration, shifting economic bases and trade, awareness of the natural environment, natural disasters there is no single narrative and straightforward representative space of its history. As people come and go, so does the routes of its capital and ideas shift – new narratives emerge and recede.”
The Sydney Pavilion will showcase new and commissioned works by six internationally recognised contemporary Australian artists with strong connections to Sydney. The 6 artists selected are:
Together the work presented in The Floating Eye illustrates the layering of histories, social and diverse cultural experience which is a reflection of contemporary life in global cities like Sydney.
The Floating Eye considers the personal accounts generated by individual artists, to mark out the engagements and the discontinuities they each experience as they attempt to negotiate ideas of locality and culture in globalised, diverse contexts.
In this way, The Floating Eye might exist as a point of opposition to an idea of cultural safety. The artists in this exhibition ask, ‘How do I belong here? How am I connected elsewhere? Do I still belong here or there?’