...the moment. with any long-running franchise, the Biennale of Sydney (launched in 1973) has had some extraordinary highs and near franchise-ending lows. Handing the first biennial of the new century over to an artist - British-born, Australian-based (for now) Richard Grayson - was both a risk and a sure bet. Grayson's studio practice is rife with cultural doubts said out loud, often shockingly funny and delivered with self-effacing wit. He professed an ambivalence towards the biennial format, and has never been included in the Sydney Biennale (that may well be the subject of a work some day). But instead of toeing the line, correcting the wrongs of the past or bettering the last hit, he listened to the voices in his own h ead. There can be many chattering away, yet his title is explicit: "(The World May Be) Fantastic." He used brackets to suggest a working title as well as...

NOTE: All illustrations and photos have been removed from this article.



More articles from C: International Contemporary Art
Rat-drifting music / detouring around the map. (The Invisible Arts)., September 22, 2002
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AD HOC. (Project)., September 22, 2002
Private public art venues & the untamed audience., September 22, 2002

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