NIRIN NGAAY is a compilation, a collection, a volume, an Artist Book, a Reader, an artwork, a sprawling, excessive heterogenous space of connections. Published as part of the 22nd Biennale of Sydney (2020), titled NIRIN, A Wiradjuri word meaning 'edge', this book is a space where ideas, themes, research, and experiments arising out of NIRIN find places on pages. Traversing many disciplines and forms, encompassing new and previously published works, complete works as well as excerpts and fragments and responses, each piece may ask for new modes of reading and seeing. Instead of disorienting, we see many lines darting and weaving across these works, beautiful moments of syncing and overlap, affective and abstract resonances, moments of density, as well as pauses to breathe deeply. Read and see and touch at random or with resolve - we hope that you will appreciate the way these works unfold and twist together, creating movements of meaning between them. 'NGAAY' is a Wiradjuri word meaning 'see.' To really see 'edges', might also be to sense and feel and trace them, they come into view with clarity, hover in the periphery, or drift away like memories.

Gina Athena Ulysse's Because When God Is Too Busy: Haïti, me & THE WORLD is a lyrically vivid meditative journey that is unapologetic in its determination to name, embrace and reclaim a revolutionary Blackness that has been historically stigmatized and denied. Crafting experiments with "ethnographic collectibles" of word, performative sounds, and imagery to blur genres and the lines between the geopolitical and the personal, this collection is a testament to postcolonial inheritances. Ulysse's work remixes samples from a range of references as it beckons readers to bear witness to a coming of age as she shifts between time and place and plays with languages to stretch the margins of aesthetics in the academic. These poems, performance texts, and photographs gather fractured memories—longings laced with Vodou chants confronting a past that looms too largely in the present. Because When God Is Too Busy searches for humility while honoring sacred and ancestral imperatives to recognize and salute power beyond Western attachments to reason.

This book disrupts the quintessential assumptions of ecology, the politics of identity, and environmental destruction, while proposing new readings, interpretations, and solutions in the face of urgent environmental issues.

Publication compiling work by artists Lucas Ihlein and Kim Williams, and collaborators, for the 2020 NIRIN Biennale of Sydney. In 2019, we (Kim Williams and Lucas Ihlein) were invited to take part in the NIRIN 2020 Biennale of Sydney. Artistic director Brook Andrew commissioned us to create a project focused on plastic. Andrew's vision involved artists involved at every level of the festival - from publication design, to food, education, and even transport infrastructure - and with our project, an intervention into the Biennale's environmental impact.Our project emerged slowly, over a few years, beginning well before the start of the public exhibition, and continuing throughout the live time of the festival (and beyond). One of the main aspects of the project was a "consultancy" with the Biennale organisation. In the spirit of Barbara Stevini and John Latham's "Artist Placement Group" from the 1970s, the model of artists-as-consultants pushed us into thinking of our role beyond the standard production of content for an exhibition. Rather, we took on the challenge of trying to re-design what a biennale (and what this biennale) could be, both behind the scenes and in the public eye.This publication compiles diverse elements from the project: offset lithographic printmaking, installation art, collaborations with artists including The Sisters of Perpetual Plastix, MC Nannarchy and Rox de Luca, and the creation of a music video with kids. The project was funded by Australia Council for the Arts, Biennale of Sydney, and Detached Cultural Organisation.

A catalogue of the artists and works in the 22nd Biennale of Sydney (2020), titled NIRIN

This publication accompanies two exhibitions that celebrate the 125th anniversary of the establishment of Geelong Gallery in 1896; that honour one of the first and greatest acquisitions to enter the collection; and that assert this Gallery's enduring commitment to the critical visions of contemporary artists.Frederick McCubbin-Whisperings in wattle boughs takes its lyrical title from McCubbin's quietly mesmerising painting of 1886, in which he depicts a solitary man in repose, contemplating the earth, listening to the rustling of the bush around him while his tea boils in the billy nearby. This evocative work sets the tone for an exhibition centred on one of the treasures of Geelong Gallery: McCubbin's much loved A bush burial 1890, the first major painting to enter the Gallery's collection, purchased through public subscription in 1900. A bush burial is brought into dialogue with a selection of other now-iconic paintings in which McCubbin redefined the Australian bush and elaborated the place and roles of human subjects within it. It is, therefore, a focussed thematic survey rather than a broad ranging retrospective of McCubbin's output and follows two recent Geelong-curated scholarly thematic exhibitions: Land of the Golden Fleece- Arthur Streeton in the Western Districts (2016) and Fred Williams in the You Yangs (2017).

This book is about the nature of architecture, its relation to society, and the ways in which it is practiced, researched, and taught.