Since its inauguration in 1973, the Biennale of Sydney has proliferated upon the interests of an increasingly decentralised art world. The Biennale has contributed to transforming Sydney into a hub for culture and its various manifestations. The continuous emergence of large scale international exhibitions in recent times has evoked a critical commentary which attempts to abash these events as subjects of ‘Biennale Syndrome’, yet in the fervent fiscal climate of Sydney, where art-talk is often centred around the achievements of commercial galleries and auction houses, the Biennale is the antithesis of a ‘trip to the mall’. The variety of artistic practices that culminate the work exhibited in the Biennale of Sydney do not necessarily resemble those which hang on commercial gallery walls, nor those, piled together, ‘salon style’ at auction previews. A number artistic events of an alternative value, that cannot be commodified, have been amongst the most impressive in this Biennale.

Reading Dante (2008) was performed by American artist Joan Jonas on Sunday, 22 June in the Cell Block Theatre at the National Art School, Darlinghurst. Inspired by the early-fourteenth century ‘Devine Comedy’ by Dante Alighieri, Jonas’ performance, which lasted nearly one hour, took its audience on a journey through inferno and paradise. A spectacle on view for free, upon booking, the performance exhibited a unique interpretation of the classics’ themes combined with an exploration of identity. Through adopting various personas, Jonas explored the nature of identity. She revealed herself as both a whole, physical body and as part of multiple characters, projected on a screen behind her. She performed various identities and showed herself as real and as fragments, contingent on her true self.

Within the completely blackened theatre the audience were chilled by the cool winter air, captured inside the hall’s vast and hollow sandstone confines. The stage, frenzied by performance’s dramatic activity, was the focal point of an audience on the edge of their seats. With eyes darting between Jonas, her accompanying performer and the screen in the centre, it was apparent that the audience were not merely spectators, but actively involved in artwork. Influenced by their individual identities, no two members of the audience viewed the performance in the same way. Subsequently, the audience’s perception of the performance and journey through Jonas’ creative tour was entirely different. Each participant could place a different value on their experience but it would not be possible to compare it to a trip to the mall. Devoid of the formulaic qualities attributed to Biennale Syndrome, this performance showed how culture cannot always be commodified.

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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.