始于1973年的悉尼双年展现已发展为大规模且极具国际影响力的盛会,至今为止已展出过来自100多个国家的近1600位艺术家的作品。它也是亚太地区第一个成立的当代艺术双年展,其声誉和品质堪比威尼斯双年展、圣保罗双年展和卡塞尔文献展。在2014年由艺术媒体artnet news评选而出的一份名单中,悉尼双年展位列“国际最重要的20个双年展”之一。

2016年3月18日到6月5日,第20届悉尼双年展在悉尼举行,援引著名科幻小说作家威廉·吉布森的名言“未来已经到来——只是分布不均”,第20届悉尼双年展以此为主题,将通过7个展区以及一系列“过渡空间”来阐释这一议题,每一个展区都以“思想的大使”为独立主题而呈现。这7个“思想大使”分别被设定为:鹦鹉岛的现实大使;新威尔士美术馆的精神大使;Artspace的不参与大使;当代艺术博物馆的翻译大使;Carriageworks的消失大使;书店里的Stanislaw Lem大使和Mortuary Station的过渡大使。

The Future Is Already Here – It’s Just Not Evenly Distributed 3

The Biennale of Sydney is Australia’s largest contemporary art festival, with more than 200 artworks on display by 83 artists from 35 countries with over 600,000 national and international visitors. Its aim is to broaden the reach, awareness and engagement with contemporary art with existing and new audiences. Under the artistic direction of Dr Stephanie Rosenthal, the 20th Biennale of Sydney is organised around the over-arching theme of ‘The future is already here — it’s just not evenly distributed’. This theme, inspired by a quote by science fiction writer, William Gibson, suggests that we have already bypassed our own expectations of a future yet to materialise, and that today’s reality is closely interwoven with the virtual world of the internet.

The 3 month event takes place across Sydney in 7 key locations including a museum, a state gallery, a railway station, an island, and a multitude of in-between spaces where the virtual and the physical worlds overlap. Positioned as ’embassies of thought’, these unique locations are individually curated around clusters of ideas. These are the Embassy of the Real, Spirits, Disappearance, Non-Participation, Translation, Transition and Stanislaw Lem.

With such a complex and futuristic theme, spread across a host of locations, the key challenge was to connect the different venues and sub-themes, while also building awareness and connecting audiences to the diverse array of art and experiences. The identity explores the larger theme and the idea of embassies, to create individual iterations of the larger identity. Each embassy has its own typographic language and lettering forms, colour palette, and stylised delegate entities, developed in direct response to the clustering of ideas within. Each embassy is represented as a section within a continuous reel of information, conveying a fraction of the total experience and the distribution of art and ideas throughout the city. As we move from one venue to the next, their individual identities begin to converge and assimilate each other’s characteristics – merging in a dialogue of cultural exchange within the in-between spaces.

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