The Art of Memory: Unpacking Narratives at the 25th Biennale of Sydney
Storytelling, in its myriad forms, lies at the very core of the 25th Biennale of Sydney, aptly themed “Rememory.” This exhibition delves into the profound human need to connect with narratives, to find meaning and order in a world that often feels unpredictable. As literary critic Frank Kermode famously argued, humans are inherently storytellers, and structured narratives, with their clear beginnings and endings, provide a framework for understanding our existence.
Art, however, possesses a unique power to transcend simple linearity. It can craft narratives that are deliberately multilayered, ambivalent, and open to a spectrum of interpretations – tales that don’t necessarily conclude but rather invite ongoing contemplation. By adopting “Rememory” as her guiding concept, a phrase borrowed from the masterful author Toni Morrison, curator Hoor Al Qasimi expertly highlights how artistic narratives, much like our own memories, are simultaneously personal and collective, enduring yet fluid, capable of evolving over time.
This year’s Biennale offers a powerful exploration of displacement, hope, and the enduring spirit of those who have experienced exile, migration, and the profound dispossession faced by First Nations peoples within their own ancestral lands. While some artists employ spoken word or written text to convey their stories, it was the silent, text-less pieces that resonated most deeply, speaking volumes without uttering a single sound.
Tales of Displacement and Enduring Connection
Marian Abboud, a Lebanese-Australian artist, presents a poignant installation at the White Bay Power Station. Titled Sister +++++ Familial Formations III, the work features colossal photographs suspended above a weathered sedan, itself laden with an assortment of outdated televisions.
Entwined by a chaotic tangle of electrical cords and crudely secured, this amalgamation of car and technology exudes a palpable sense of instability. In several of Abboud’s striking photographs, she is depicted cradling a battered metal basin filled with a dark, enigmatic liquid. The ambiguity—is it wine, blood, or oil?—adds to the evocative power of the imagery. In other images, she stands before a suburban garage, shrouded in a black veil, appearing to hover just inches above the asphalt driveway. This ethereal presence serves as a potent metaphor for the diasporic experience, a feeling of perpetual displacement that resonates deeply with those who have navigated the complexities of migration, belonging neither fully to their homeland nor their adopted country.
From Guatemala, Fernando Poyón, an artist of Maya Kaqchikel heritage, offers a striking sculpture at the Penrith Regional Gallery. Five life-sized corn stalks, meticulously crafted from vibrant green pencils, appear to levitate above a circular arrangement of artificial marigolds scattered across genuine soil.
The scene evokes a sense of a ritual paused mid-invocation, perhaps a celebration of the intricate interplay between nature and culture. Poyón’s title, Bringing joy to the earth, is infused with an undeniable sense of hope. Yet, the artwork also carries a subtle but urgent warning. While pencils can symbolise the transmission of knowledge, they are also, at their core, the remnants of felled trees. Poyón’s work serves as a powerful reminder that our destruction of the natural world comes at our own peril. It underscores the fundamental truth that humanity is an intrinsic part of nature, not separate from or superior to it. In an era of accelerating climate crisis, this is a narrative that demands to be heard, amplified, and acted upon by those in positions of power.
The Labour of Art and the Weight of Memory
Ema Shin, who migrated to Australia from Japan, contributes a monumental, intricately woven, and bejewelled heart to the Chau Chak Wing Museum. Titled Hearts of Absent Women (Tree of Family), this magnificent sculpture masterfully employs what can be described as the “linguistics of labour-intensity”—the profound capacity of protracted, painstaking work to imbue an artwork with an additional layer of meaning.
This richly ornamented organ can be interpreted as a powerful monument honouring matriarchal strength and influence. However, this heart is notably still, devoid of the rhythm of life. The textile techniques on display, reminiscent of traditional women’s work, are not the sole evocation of labour-intensity in Shin’s creation. The artwork also brings to the fore the enduring reality that women continue to shoulder a disproportionate burden of domestic chores and, often, the bulk of emotional labour within families. Shin’s colossal heart is both sumptuous and captivating. Yet, as one contemplates the immense feminine effort involved, the creamy accretions of bulbous faux pearls spilling from its oversized arteries begin to resemble the visual representation of life-threatening cholesterol buildup, hinting at the insidious and toxic effects of systemic misogyny.
Perhaps the true emotional epicentre of “Rememory” can be found at the Art Gallery of New South Wales in Ngurrara Canvas II. Created by 43 Ngurrara artists from the Great Sandy Desert region, this breathtakingly vivid canvas, spanning 80 square metres, seems to pulse with millennia of profound knowledge.
The artwork meticulously narrates a story of unbroken connection to Country, stretching back through countless generations. This painting was presented as crucial evidence in a 1997 Native Title tribunal, a testament to its power as a narrative of resistance, perseverance, and profound ingenuity. It carries within it an indisputable and timeless truth: this land always was, and always will be, Aboriginal land.
The 25th Biennale of Sydney is an expansive tapestry woven from countless stories. What truly captivates about the art presented here is the deeply personal nature of the tales it tells. Each piece acts as a catalyst, triggering a unique collective narrative hybrid—a rich amalgamation born from the artists’ visual poetry and the myriad associations that reverberate within the viewer’s own mind. Ultimately, each visitor to “Rememory” embarks on their own journey of interpretation, creating their own unique stories from the powerful narratives on display.
The 25th Biennale of Sydney: Rememory is open to the public until June 14.
