According to its critics, this year’s Biennale of Sydney, under the leadership of Emirati artistic director Hoor Al Qasimi (the first Arab appointed to the role in the festival’s 53-year history) was destined to be a “hate Israel jamboree” at worst; a hotbed of pro-Palestinian politics at best. These fears – which appear to have originated from pro-Palestine statements Al Qasimi and her parents made in the past – are not borne out by the festival itself, which opens this weekend across five key venues, spanning from the inner city out to Penrith and Campbelltown.
In an unusual move for the biennale, Al Qasimi wasn’t present at the vernissage – but with or without her, the resulting festival, the event’s 25th, is complex and nuanced. It’s light on spectacle and slogans; not a political chant but rather a polyphony of voices – more than 80 artists from 37 countries – singing their own songs. The theme, “Rememory” – taken from Toni Morrison’s novel Beloved – is reflected in works that look to the past to find answers to present dilemmas and envision better futures. The wisdom of ancestors and ancient cultures is woven throughout.
