Tracey Moffat’s collaboration with Gary Hillberg, REVOLUTION, 2008 made for this Biennale is one of the most engaging works at the MCA. Although León Ferrari’s, La civilización occidental y cristiana / Western Christian Civilization, 1965 (Jesus nailed to a airplane cross) and Maurizio Cattelan’s, Novecento,1997 (stuffed dead horse) * have both received a lot the media attention, however it was works like Moffat’s and Hillberg’s which really stood out. *Brackets my addition

The montage, for lack of a better word, of different scenes in which monarchies are attacked by the lower classes is fascinating. The different stages that take place from coronation to dissent, to fear to violence is poignant when represented through various incarnations of Marie Antoinette and the French Revolution portrayed on film. This very much contributes to this undercurrent of “upper-middle class” guilt and fear of the lower classes presented in these films as the well arrogance and ignorance of the monarchy.

These films when pieced together present a sort of blueprint for REVOLUTION similar to the stages of grief. However with the different democratic structure in Australia the film represents fear much more than reality. Australia’s are increasingly both security and finance focused. The big bad recession is much more of a fear for the average Australian. However this is not to say that this film doesn’t relate to current life – not getting ahead of yourself or too big for your boots is very Australian.

Similarly the tradition of convict entrepreneurs in Australia means we are very wary of too much power and wealth. The tough thing is that we want our fellow Aussies to succeed. Just pretend that you are not too successful and no villagers will be at your door wielding torches.

Tracey Moffat’s First Jobs Series, 2008 is currently showing at Roslyn Oxley9 until the 13th of September.

Edith Moss is young Sydney writer and has written articles for a number of national and local arts publications. Edith’s main area of interest is contemporary art, design and architecture, she seeks to write about these areas for a broad audience and make contemporary art more open to the public.

Image: Maurizio Cattelan, Novecento,1997, taxidermy horse, metal frame, leather slings, rope  Collection Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin; Gift Amici Sostenitori del Castello di Rivoli. Installation view at the 16th Biennale of Sydney 2008 at the Museum of Contemporary Art, Sydney. Photograph: Ben Symons.