Queen Ellyria just wants her sick triplet sons to live, each ruling over a third of the kingdom as their dying father wished. When she finds herself trapped in a deadly bargain with a Dark Spirit, she recruits a band of young mages to help - but a terrible curse takes over. The Dark Spirit befriends her enemies and seduces her friends, and Ellyria soon finds that famine, pestilence, betrayal and bereavement are all in its arsenal. Can Ellyria unite the elvish and mortal sides of her family and in so doing, save the kingdom?

The most exciting contemporary visual arts event in the Asia-Pacific region, the 18th Biennale of Sydney, will take place from 27 June - 16 September 2012. This full-colour catalogue provides a comprehensive overview of the exhibition, its artists and the ideas that inform it.

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 "passionate amalgam of science and autobiography" that will leave you hearing -- and seeing -- nature as never before (New York Times Book Review). Musician and naturalist Bernie Krause is one of the world's leading experts in natural sound, and he's spent his life discovering and recording nature's rich chorus. Searching far beyond our modern world's honking horns and buzzing machinery, he has sought out the truly wild places that remain, where natural soundscapes exist virtually unchanged from when the earliest humans first inhabited the earth. Krause shares fascinating insight into how deeply animals rely on their aural habitat to survive and the damaging effects of extraneous noise on the delicate balance between predator and prey. But natural soundscapes aren't vital only to the animal kingdom; Krause explores how the myriad voices and rhythms of the natural world formed a basis from which our own musical expression emerged. From snapping shrimp, popping viruses, and the songs of humpback whales -- whose voices, if unimpeded, could circle the earth in hours -- to cracking glaciers, bubbling streams, and the roar of intense storms; from melody-singing birds to the organlike drone of wind blowing over reeds, the sounds Krause has experienced and describes are like no others. And from recording jaguars at night in the Amazon rain forest to encountering mountain gorillas in Africa's Virunga Mountains, Krause offers an intense and intensely personal narrative of the planet's deep and connected natural sounds and rhythm. The Great Animal Orchestra is the story of one man's pursuit of natural music in its purest form, and an impassioned case for the conservation of one of our most overlooked natural resources-the music of the wild.

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.

This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.