Identifier
Created
Classification
Origin
09CANBERRA171
2009-02-19 06:36:00
UNCLASSIFIED//FOR OFFICIAL USE ONLY
Embassy Canberra
Cable title:  

2008 Sydney Biennale Report and Refining Future Support

Tags:  KPAO PREL OEXC SCUL AS 
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DE RUEHBY #0171/01 0500636
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R 190636Z FEB 09
FM AMEMBASSY CANBERRA
TO RUEHC/SECSTATE WASHDC 1046
RUEHDN/AMCONSUL SYDNEY 4267
UNCLAS CANBERRA 000171 

SENSITIVE

SIPDIS

SECSTATE FOR ECA/PE/C/CU; EAP/PD

E.O. 12958: N/A
TAGS: KPAO PREL OEXC SCUL AS
SUBJECT: 2008 Sydney Biennale Report and Refining Future Support

REF: A) 08 STATE 42434; B) 08 CANBERRA 00460

This cable is Sensitive But Unclassified (SBU) and for official
use only. Not for transmission outside USG channels.
UNCLAS CANBERRA 000171

SENSITIVE

SIPDIS

SECSTATE FOR ECA/PE/C/CU; EAP/PD

E.O. 12958: N/A
TAGS: KPAO PREL OEXC SCUL AS
SUBJECT: 2008 Sydney Biennale Report and Refining Future Support

REF: A) 08 STATE 42434; B) 08 CANBERRA 00460

This cable is Sensitive But Unclassified (SBU) and for official
use only. Not for transmission outside USG channels.

1.(SBU) Summary: Post recently received the final report from the
organizers of the 2008 Biennale of Sydney: Revolutions - Forms
That Turn, held June 18 through September 7, 2008. The report
gave credit to ECA support (reftel A) with a small logo on the
last page of the report, alongside logos for other consulates and
embassies. As detailed in reftel B, post was concerned by the
lack of substantive consultation prior to major financial support
for American artists' participation in the 2008 Biennale, and by
some works with politically partisan messages which countered MSP
goals. Post recommends that future USG support focus on engaging
local Australian artists or curators, and that the Biennale
pursue funding for American artists' participation in future
Sydney biennales from foundations and the private sector. The
ECA funding provided for the 2008 Sydney Biennale would have
advanced post's MSP goals more effectively had it been available
for multiple modest grants for cultural programs designed by
post. End summary.


2. (SBU) The overall budget for the Sydney Biennale was around
U.S $6.5 million. Post received $110,000 from ECA/PE/C/CU to
underwrite costs associated with the U.S. representation at the
2008 Sydney Biennale. That included: $80,000 for exhibition
support, travel of U.S. artists, installation of artworks, and
other associated costs described in the proposal budget provided
by the Sydney Biennale directly to ECA; $20,000 for public
programs organized by the Biennale of Sydney Ltd. International
Festival of Contemporary Art; and $10,000 for public programs
organized by the Mission. In post's assessment, the $10,000 for
public programs was effective for engaging Australians.


3. (SBU) The bulk of funding went towards partially defraying
costs of participation (e.g., exhibition support, travel,
installation of artworks) for American artists Jennifer Allora
and Guillermo Calzadilla, Ayreen Anastas and Rene Gabri, Kelly
Barrie, Tamy Ben-Tor, Mark Boulos, Mark Dion, Sam Durant, Dan
Graham, Joan Jonas, Paul Pfeiffer, Michael Rakowitz, and Lawrence
Weiner, Matthew Buckingham, Yevgeniy Fiks, Gareth James, and
Michael Rakowitz; and Biennale public programs with critics and
journalists Jerry Saltz, Gregory Volk, Dan Graham, Garland Allen,
and Emily Sundblad.


4. (SBU) The $10,000 for public programs designed by post allowed
regional curators from across Australia to participate in the
2008 Sydney Biennale. PAS Sydney arranged for 7 emerging
curators to participate in the Sydney Biennale's closing
symposium, September 6-7, 2008. PAS used the $10,000 to provide
funding for transportation, per diem and hotel accommodations for
one night. This unique contribution of the Mission broadened
participation to include emerging curators from outside New South
Wales, reinforcing and expanding Australian appreciation for the
U.S. commitment to cultural exchange. The connections forged
with the seven emerging curators should advance long-term efforts
to introduce American culture in Australian galleries and
museums.


5. (SBU) As a result of the post designed public program:
- we reinforced U.S. commitment to cultural exchange;
- we expanded Australian arts community appreciation for U.S.
public diplomacy;
- we engaged regional audiences;
- we broadened participation in a Sydney festival by bringing in
curators from beyond New South Wales;
Qcurators from beyond New South Wales;
- participants gained an otherwise unavailable opportunity to
meet fellow curators and artists;
- and participants learned about the latest developments in
curatorial practice.


6. (SBU) Post's public programs directly engaged the following
regions and participants:
WESTERN AUSTRALIA - Robert Cook, Associate Curator of
Contemporary Art, Art Gallery of Western Australia
NORTHERN TERRITORY - Siying Zhou, Program Manager, 24HR Art, NT
Centre for Contemporary Art
QUEENSLAND - David Burnett, Curator, International Art Gallery of
Modern Art, Queensland Art Gallery
VICTORIA - Simon Maidment, Director, Satellite Art Projects
VICTORIA - Brendan Lee, Artist and Freelance Curator
VICTORIA - Mark Feary, Program Coordinator, West Space
VICTORIA - Ulanda Blair, Special Projects Coordinator, Nextwave


7. (SBU) Comment: We strongly recommend for Sydney's future
biennales that the USG significantly reduce its contribution.
While a modest grant to the Biennale may be warranted, we do not
believe the public impact of this year's grant was commensurate
with the amount of money expended. We also strongly recommend
that ECA continue to provide sufficient funds for us to design
our own programs that take advantage of the Biennale to engage
Australian cultural leaders. End Comment. CLUNE