As the first week of the Biennale drew to a close, a small group of weary Biennale pilgrims embarked on a journey known as the Tour of Beauty, operated by artist collaborative Squat Space. The tour was not formally organised by the Biennale of Sydney, instead it was an event held in conjunction with the exhibition Concrete Culture*.

Squat Space described themselves as a group of ‘artists and activists engaged with the politics and pleasures of space in the city, a spaceless organisation [who] organise events, co-ordinate projects, and host websites’ ( www.squatspace.com ). They have now organised over fifteen tours around the Redfern / Waterloo areas of Sydney’s inner city and in doing so, have significantly contributed to a growing awareness within the community of the problems and challenges concerning these areas’ locale and inhabitants.

After a short briefing by Lucas Ihlein, a member of Squat Space, the group left the docile and quiet surrounds of Paddington on board a City of Sydney bus. The twenty eight tour participants’ first destination was ‘The Settlement’, a recreation hall situated behind an unsuspecting terrace-house façade on Edward Street, Darlington. Historically a dance hall, frequented by inner city Sydney’s immigrant working class, the space is now a centre for youths in the local area. Lyn Turnbull, The Settlement’s director spoke to the group here about the centre’s provision of meals for and engagement in activities with local youths, both Indigenous and non-Indigenous. Although the centre could easily be mistaken for any other terrace in the street, the warn nature of its floors and walls, together with its comprehensive array of activity stations spoke of the generosity and dedication to the people of an area, often unmentioned in a cultural discourse of Sydney.

From The Settlement, the tour proceeded to the infamous ‘Block’ on Eveleigh Street, Redfern. After another brief discussion lead Squat Space, Biennale artist, Michael Rakowitz was asked to deliver an ad lib commentary of his installation White Man Got No Dreaming, dubbed the Block Tower. Rakowitz’s site specific ‘social sculptures’ are no stranger to confronting social issues and problems relating to areas of contention and The Block, for a multiplicity of reasons, is one of these. Rakowitz eloquently explained the nature of his work in relation to Vladimir Tatlin’s model for the Monument to the Third International (1919) as an icon of revolutionary ideas and processes. Constructing his installation from discarded materials, originating from derelict, unoccupied and, soon to be destroyed houses owned by the Aboriginal Housing Company, Rakowitz’s installation evaluates the relocation of revolutionary architecture to an unfamiliar location which is potentially unwilling to receive it. Expressing an unique knowledge of The Block’s internal politics, gained during the his residence in Sydney, Rakowitz encouraged the entire group to understand his work and further question his understanding of its place.

Shortly after Rakowitz’s conclusions were discussed, self described Aboriginal activist and freedom fighter, Jenny Munro spoke to the group. A recently appointed Elder within her community and long-term devotee to the community of the Redfern / Waterloo area, Jenny spoke authoritatively about her understanding of ‘problems’ associated with The Block and her perceptions of ‘White Australia’s ’ inability to understand it. She articulated that the failures of understanding, between Indigenous and non-Indigenous Australians are the product of a Euro-centric political model which doesn’t recognise the ‘internal politics of Aboriginal people’, and that the tumultuous situation between Frank Sartor MP’s Redfern / Waterloo Authority, City of Sydney Council, Aboriginal Housing Company and local residents manifest this. Jenny exclaimed that one of her most important vocations in life was generating an understanding of this issue within the minds of future generations of people and many in the tour group returned to the bus digesting much food for thought.

Before returning to Paddington, the group heard from RedWatch who delivered a unique commentary on the future of the site around Carriage Works, as well as residents and groups which constitute the Redfern / Waterloo’s diverse community. Squat Space Tour of Beauty and the array of presentations delivered along its course spoke directly of the revolutionary spirit that exists within Sydney’s community. Coinciding with the Biennale, the topics of discussion contextualises the Biennale’s themes of Revolutions – Forms that Turn and show the poignancy of issue on a local level.

*Concrete Culture
Ivan Dougherty Gallery – UNSW COFA
Selwyn St, Paddington, Sydney, NSW
May 29, 2008 - Jul 5, 2008
Artists:Alfredo and Isabel Aquilizan (Philippines/Australia), Richard Goodwin (Australia), Ou Ning (China), SquatSpace (Australia), Ashok Sukumaran (India)
Curated by:Felicity Fenner
Forum: Monday, 23 June 2008, 9.20am-5.45pm Extra/Ordinary Cities: The Cultural Dynamics of Urban Intervention - Convened by the Centre for Contemporary Art & Politics, UNSW and the Biennale of Sydney with Casula Powerhouse Arts Centre in connection with a Linkage Project funded by the Australian Research Council [ARC] Bookings: www.bos2008.com/app/biennale/event/8 -
Reception with the artists: Ivan Dougherty Gallery, Monday 23 June 5.45-8pm

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William Sturrock has a Bachelor of Art Theory from UNSW COFA and is currently completing his Master of Art Administration. Contemporary art of the Aisa-Pacific region and contemporary dialogue of global art form the basis of William’s curatorial and literary interests.