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Biennale of Sydney, 10 Hickson Road, Sydney (2026)

26/08/2026

Today, we remember Dolly Parton - a singular voice whose music, spirit and larger-than-life presence touched generations around the world.

Dolly’s influence reached far beyond the world of country music, finding its way into art, culture and the imaginations of people everywhere. For 24th Biennale of Sydney artist Kaylene Whiskey, Dolly was among the iconic figures who appeared in her vibrant and joyful world of storytelling.

Dolly featured in Kaylene TV, Whiskey’s large-scale installation commissioned for the Biennale of Sydney, appearing alongside other cultural icons and Whiskey’s kungka kunpu (strong women).

Thank you for showing generations that strength can come with softness and extraordinary success can be matched with kindness.

Rest in peace, Dolly. ❤️

Image credit: Kaylene Whiskey, Kaylene TV, 2023. Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain with generous assistance from the Australian Government through creative Australia, its principal arts investment and advisory body. Courtesy the artist, Iwantja Arts and
Roslyn Oxley9 Gallery. © Kaylene Whiskey. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, White Bay Power Station. Photograph: Document Photography.

26/08/2026

Sydney Contemporary returns to Carriageworks from 3–6 September for its 10th edition.

Discover 100+ leading galleries from nine countries, ambitious installations, and thousands of contemporary artworks available to buy, from emerging artists to established names.

Experience four days of art, ideas and discovery at Australasia’s premier art fair, presented in partnership with MA Financial Group.

Special offer of 20% off Art Night, Friday Night, and Any Day Tickets. Offer ends 11am Thursday 3 September.

https://sydneycontemporary.flicket.io/events/98098063-7924-4112-8ef4-4ea38811256d/reservation?slug=1e51e286&code=biennaleofsydney

Images: Courtesy of Sydney Contemporary.

26/08/2026

Rememory / Warraba Weatherall

An investigation into the living legacy of colonial collecting practices, Kamilaroi artist Warraba Weatherall’s Setting Sun interrogates religion and the natural sciences as instruments of empirical expansion. The wall-mounted sculptures evoke the forms of filing cabinets and tabernacle frames — each functioning as both an icon of worship and a signifier of violence. While tabernacle structures became popular during the Italian Renaissance, their earlier use as tombs and repositories for sacred materials produces a jarring juxtaposition when read through Indigenous experience.

Behind the latticed frames sit cultural forms commonly referred to as shadowboxes — sculptural assemblages used to articulate kinship relations within the artists’ community. Here, each internal form is dissected and decontextualised, framing a lineage of religious and scientific supremacy as modes of systemic violence that position Indigenous identities as anomalous. Weatherall’s work seeks to reposition the historical declaration that “the sun never sets on the British Empire.” Despite superficial shifts across generations, we are still awaiting the Setting Sun.

Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain with generous support from the Queensland Government through Arts Queensland Courtesy of the artist and Milani Gallery, Brisbane.

Chau Chak Wing Museum, University of Sydney

Images: Warraba Weatherall, Setting Sun, 2026. Commissioned by the Biennale of Sydney and the Fondation Cartier pour l'art contemporain with generous support from the Queensland Government through Arts Queensland. Courtesy of the Artist and Milani Gallery, Meanjin (Brisbane) © Warraba Weatherall. Installation view, 25th Biennale of Sydney, Rememory, 2026, Chau Chak Wing Museum, The University of Sydney. Photograph: David James.

25/08/2026

What if you could experience Sydney's most exciting artistic practices all year round?

Through artseen, the Biennale of Sydney’s expanded community of support, join us behind the scenes, connect with the creative minds shaping the future of culture, and play a meaningful role in championing the art scene of Sydney.

This month, artseen members and benefactors of the Biennale of Sydney gathered at PALAS for a private viewing of Sydney-based artist Nick Collerson’s latest exhibition and experienced the artist's work in an intimate setting, followed by a delicious pizza dinner!

From private gallery viewings to artist studio visits, exclusive tours to chic parties, artseen offers a different way to experience Sydney's most exciting creative spaces - and to be part of the Biennale of Sydney community.

Available as a membership program for a tax-deductible donation of $500 per year - and included as a standard benefit for all Biennale of Sydney benefactor tiers - artseen gives exclusive access to a program of regular events throughout the two-year cycle of the Biennale of Sydney.

We're waiting for you! Join now via https://www.biennaleofsydney.art/artseen/

25/08/2026

Rememory / Vicente Telles

Primera Voz / First Voice reflects on language as both inheritance and loss. Developed during Vincente Telles’s residency at Campbelltown Arts Centre, the work is rooted in the artist’s upbringing in Albuquerque’s South Valley, a predominantly Latino community shaped by forced assimilation. The painting emerges from the erasure that occurs when a first language is taken away through coercion and punishment. English becomes a necessity, while Spanish lingers as a shadow, producing a sense of displacement that unfolds across generations.

The work speaks to a double estrangement: from an ancestral language, and from the dominant culture that enforced its erasure. This personal history resonates with broader global patterns of colonisation, settler violence, and the suppression of Indigenous and minoritised cultures.

Materially, the painting is grounded in place. While in residence, Telles incorporated micaceous clay and mineral pigments foraged in New Mexico, embedding the land itself into the surface. For Telles, these materials carry memory, voice, and identity, situating the work within broader conversations about place, Country, and the histories embedded in the land.

Commissioned by the Biennale of Sydney with generous support from Campbelltown Arts Centre Courtesy of the artist.

Campbelltown Arts Centre

Images: 1. Vicente Telles. 25th Biennale of Sydney, Rememory, 2026, Campbelltown Arts Centre. Photograph: Daniel Boud. 2. Vicente Telles, Primera Voz/ First Voice, 2026. Commissioned by the Biennale of Sydney with generous support from Campbelltown Arts Centre. Courtesy of the artist © Vicente Telles. Installation view, 25th Biennale of Sydney, Rememory, 2026, Campbelltown Arts Centre. Photograph: Silversalt Photography. 3. Left to right: Vicente Telles, Primera Voz/ First Voice, 2026. Commissioned by the Biennale of Sydney with generous support from Campbelltown Arts Centre. Courtesy of the artist © Vicente Telles. Basel Abbas and Ruanne Abou-Rahme, Until we became fire and fire us, 2023-ongoing. Presentation at 25th Biennale of Sydney was made possible by Rubaiya Qatar, Qatar Museums. Courtesy of the artists © Basel Abbas and Ruanne Abou-Rahme. Norberto Roldan, Holy Buddha (from the Charleston Shrines Series), Holy Anito (from the Charleston Shrines Series), 2025-2026. Courtesy of the artist and the Foundation for Spirituality and the Arts, Charleston, South Carolina, USA © Norberto Roldan. Installation view, 25th Biennale of Sydney, Rememory, 2026, Campbelltown Art Centre. Photograph: Silversalt Photography. 4 - 5. Vicente Telles, Primera Voz/ First Voice, 2026. Commissioned by the Biennale of Sydney with generous support from Campbelltown Arts Centre. Courtesy of the artist © Vicente Telles. Installation view, 25th Biennale of Sydney, Rememory, 2026, Campbelltown Arts Centre. Photograph: Silversalt Photography.

24/08/2026

"What I liked most about the 25th Biennale of Sydney was listening to other participants share their thoughts and interpretations of the artworks. It really inspired me and gave me a completely different experience compared with visiting the exhibition alone. Hearing different perspectives made the artworks feel more alive and meaningful." - 25th Biennale audience member

Sometimes the best part of experiencing art is hearing how someone else sees it.

Whether through one of our guided art tours or conversations sparked throughout the exhibition, Rememory created space for audiences to share ideas, ask questions and discover new perspectives together.

Thank you to everyone who visited Rememory, started a conversation and helped make the Biennale a place for connection, curiosity and exchange.

24/08/2026

Rememory / Tuan Mami

SEEDING THE FUTURE No. 3 is a participatory installation that traces Vietnamese immigrant communities across the globe, from Europe and Asia to the Americas. For this iteration, the project collaborates with the Vietnamese community in Sydney, collecting Vietnamese seeds from around Australia, along with collective memories and personal stories recounted by Vietnamese boat people from the Oral Historic New Orleans Collection, to create a shared social platform through a deconstructive process. SEEDING THE FUTURE No. 3 forms part of the ongoing Vietnamese Immigrating Garden Project.

The work adopts an interdisciplinary approach, drawing on experimental and cross-disciplinary methods, including anthropology and research-based inquiry. It unfolds through socially engaged experiments and performative installations that reconstruct situations in which people and objects from specific lived realities are invited to interact through social processes. The project examines human movement and its impact on history, memory, power structures and nature, exploring transhistorical processes that emerge from interactions between people and their environments.

Commissioned by the Biennale of Sydney Courtesy of the artist.

Images: 1. Tuan Mami. 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Daniel Boud. 2 - 4. Tuan Mami, SEEDING THE FUTURE No. 3, 2026. Commissioned by the Biennale of Sydney. Courtesy of the artist © Tuan Mami. Installation view, 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Document Photography.

23/08/2026

Rememory / Tuan Andrew Nguyen

Of the five million tonnes of artillery unleashed on Vietnam during the Vietnam War (1954–1975), a total double the amount of ordnance used by the U.S. in World War II – roughly one third - never exploded. The central Vietnamese province of Quảng Trị emerged from the conflict as one of history’s most heavily bombed areas, enduring 40% of the country’s total bombardment. According to active demining organisations in this area, a seemingly limitless number of cluster bombs and other munitions await detonation to this day.

Taking these live remnants as a metaphor for the lingering trauma of the Vietnam War, Tuan Andrew Nguyen’s The Unburied Sounds of a Troubled Horizon follows Nguyet, a scrapyard worker from Quảng Trị, who scavenges and re-sells unexploded ammunition. In this film, salvaged weapons are transformed into hanging sculptures uncannily similar to the work of the late American artist Alexander Calder, who the protagonist may be the reincarnation of. A mediation on the power of material memory, The Unburied Sounds of a Troubled Horizon presents art not as a tool to muffle the shock waves of trauma but to tune them to healing.

Courtesy of the artist and James Cohan Gallery, New York.
sydney

Images: Tuấn Andrew Nguyen, The Unburied Sounds of a Troubled Horizon, 2022.Courtesy of the artist and James Cohan Gallery, New York © Tuấn Andrew Nguyen. Installation view, 25th Biennale of Sydney, Rememory, 2026, Chau Chak Wing Museum, The University of Sydney. Photograph: David James.

22/08/2026

Rememory / Tania Willard

Forest Glass looks through the layered ecologies of time, from ancient coal-forming forests to the environmental legacy of colonial industry. Drawing on the history of glass-making Forest Glass reframes the window as a site of both extraction and reflection. The green hue references early iron-rich forest glass and uranium glass, its eerie glow hinting at toxicity, radiation, and the by-products of modern industry.

The piece traces the alchemy of plants like ancient calamites, progenitors of coal, and their modern relatives, the invasive horsetails, whose spread echoes colonial impact. Horsetails, native to most continents but invasive in Australia, become metaphors for settler colonialism and ecological disruption.

Installed in the industrial windows of White Bay Power Station, the work gestures toward the history of glass as a colonial commodity—once taxed, traded, and controlled. Yet Forest Glass also invokes resistance: referencing Australia’s Green Bans and centering Indigenous resilience. With its glowing green aura, it offers a speculative window into decolonial futures, where environmental healing and deeper kinship with land might yet emerge.

Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain with generous support from Canada Council for the Arts Courtesy of the artist.

Images: Tania Willard, Forest Glass, 2026. Commissioned by the Biennale of Sydney and the Fondation Cartier pour l'art contemporain with generous support from Canada Council for the Arts. Courtesy of the artist © Tania Willard. Installation view, 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Document Photography.

21/08/2026

When art, music and space come together, something unforgettable happens.

"The music performances combined with the Biennale exhibition. Hosting live music inside the exhibition venue made for amazing acoustics and combined two culturally enriching events." - 25th Biennale audience member.

Throughout Rememory, live performances transformed the Biennale experience bringing sound into the exhibition spaces and inviting audiences to see, hear and feel contemporary art in new ways.

From the atmosphere created inside to the energy shared between artists and audiences, these moments reminded us that the Biennale is more than an exhibition: it’s a place for connection, discovery and shared experiences.

Biennale of Sydney

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