2010 Adelaide Biennial of Australian Art: Before and After Science
The country’s longest-standing survey of contemporary Australian art.
The 2010 Adelaide Biennial of Australian Art: Before and After Science assembles twenty-two of the nation’s most innovative and exciting contemporary artists and artist groups, to present a wondrous and unsettling vision of our world, where mystery and the unknowable wrestle with order and reason.
Before and After Science presents cutting-edge works which, through their use of media, theme or narrative, change the humble into the precious, the old into new, and the mundane into the magical. Installation and sculpture using traditional and non-traditional materials feature strongly alongside collage, film and painting to create an exhibition inspired by concepts of alchemy and transformation.
Charlotte Day and Sarah Tutton
Hany Armanious, Ben Armstrong, John Barbour, Matthew Bradley, Mikala Dwyer, Diena Georgetti, Simryn Gill, Newell Harry, Nicholas Mangan, Gabriella and Silvana Mangano, Martumili Artists [Jakayu Biljabu, Yikartu Bumba, Nyanjilpayi (Nancy) Chapman, Mulyatingki Marney, Muntararr (Rosie) Williams, Mayiwalka (May) Chapman, Reena Rogers, Doreen Chapman, Donna Loxton, Beatrice Simpson, Ronelle Simpson, Linda James], James Morrison, Callum Morton, Doreen Reid Nakamarra, Michelle Nikou, David Noonan and the Victorian Tapestry Workshop, Stuart Ringholt, Sandra Selig with Leighton Craig, Christian Thompson, Louise Weaver, Justene Williams and Simon Yates.
Presented in association with the Adelaide Festival. The exhibition has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the Visual Arts and Crafts Strategy, an initiative of the Australian, State and Territory Governments. The 2010 Adelaide Biennial of Australia Art has been generously supported by the The Sebel Playford, Adelaide, and the Art Gallery of South Australia’s DEPARTURE program for people in their 20s and 30s. Sandra Selig’s project received financial assistance from the Queensland Government through Arts Queensland and Nicholas Mangan’s work is supported by Arts Victoria.