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 curating
syd
ney

Jill Bennett is a writer and curator who is currently professor of

experimental arts and director of the National Institute for Experimental Arts
(NIEA) at the University of New South Wales. She leads the collaborative
project Curating Cities, for which she has developed exhibitions and a database
of eco-sustainable art. Jill’s books include Practical Aesthetics: Events, affects
and art after 9/11 (2012) and Empathic Vision: Affect, trauma and contemporary
art (2005).

Saskia Beudel is a writer whose books include A Country in Mind (2013)

and the novel Borrowed Eyes (2002). Her essays and articles have appeared in
a range of Australian and international publications including The Iowa Review
and Best Australian Essays. She is currently a postdoctoral research fellow at the
University of Sydney and previously worked on Curating Cities at UNSW.

CuratingSydneyText2print.indd 1 10/09/2014 4:15 pm

 c
s
This lively and well-documented study is a fabulous and welcome addition to
the growing discourse around art and civic engagement. Curating Sydney gives
voice to the increasingly influential practices of design and art in the public
interest. Bennett and Beudel expose new ways of understanding the
relationship between urbanism and art, challenging us to question the
boundary that traditionally keeps the two on opposite sides of the fence.
De-institutionalising the role of the curator, Bennett and Beudel liberate public
art from the confines of mere spectacle, opening up new possibilities

n
for art and urbanism alike.

Director of the Charles Phelps Taft Research Center and UNESCO

Co-Chair of Water Accessibility and Sustainability

What might happen if we stopped developing Sydney? If we abjured

the grabbiness and greed in that deceptive verb? What say we the citizens
commenced curating the place instead, caring for it and encouraging revela-
tions and transformations in the city, as if the force of art zinged in its fabric?
Here is a book – full of care and creativity – that leads us through such
questions, past the real estate, into the really imaginative speculations we need.

Centenary Professor in Creative & Cultural Research, University of Canberra

im

CuratingSydneyText2print.indd 2 10/09/2014 4:15 pm

curating
syd
ney
Saskia Beudel
Jill Bennett

an
d

imagining the cit y’s future

CuratingSydneyText2print.indd 3 10/09/2014 4:15 pm

 A UNSW Press book
Published by
NewSouth Publishing
University of New South Wales Press Ltd
University of New South Wales
Sydney NSW 2052
AUSTRALIA
newsouthpublishing.com

© Jill Bennett and Saskia Beudel 2014

First published 2014

10 9 8 7 6 5 4 3 2 1

This book is copyright. Apart from any fair dealing for the purpose of
private study, research, criticism or review, as permitted under the
Copyright Act, no part of this book may be reproduced by any process
without written permission. Inquiries should be addressed to the publisher.

National Library of Australia Cataloguing-in-Publication entry

Author: Bennett, Jill, author.

Title: Curating Sydney: Imagining the city’s future/Jill Bennett, Saskia Beudel.
ISBN: 9781742233352 (paperback)
9781742247106 (ePDF)
Notes: Includes bibliographical references and index.
Subjects: Art, Municipal – New South Wales – Sydney.
Urban beautification – New South Wales – Sydney
Urban renewal – New South Wales – Sydney.
Civic improvement – New South Wales – Sydney.
Sydney (NSW).
Other Authors/Contributors: Beudel, Saskia, author.
Dewey Number: 711.4099441

Design Di Quick
Cover images Richard Goodwin and Russell Lowe, Seven Metre Bar (see
Credits section for full details).
Printer Everbest, China

All reasonable efforts were taken to obtain permission to use copyright materi-
al reproduced in this book, but in some cases copyright could not be traced. The
authors welcome information in this regard.

This book is printed on paper using fibre supplied from plantation or sustainably
managed forests.

CuratingSydneyText2print.indd 4 10/09/2014 4:15 pm

 contents
introduction: curating cities 6
1 imagined city 12
castles in the air 16
an ecological vantage point 42
curating the city 58
creative communities 68
the city image in practice 80
the road to circular quay 90
roadtrip 100
2 expansive city 106
unbound flow 112
sydney and waste 122
woodlawn 130
energy and agency 138
connection to systems 160
3 waterway city 170
invisible waters 172
beginning from nowhere 182
a well-worn pathway 194
subterranean water 198
water shapes the early city 202
closer views of the harbour 208
city rivers 220
alexandra canal 228
urban water ecologies 236
references 249
credits 255
acknowledgments 259
index 260

CuratingSydneyText2print.indd 5 10/09/2014 4:15 pm

 introduction cu
I can only justify public art as the beginning of
a system
Richard Goodwin

6 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 6 10/09/2014 4:15 pm

 introduction

n curating cities
Picture Sydney in 20 or 50 years from now. What might the city look like? How will
it function? You may imagine major changes to the landscape and coastline – the
effects of climate change, rising sea levels and human-engineered terraformation
– or a city whose boundaries extend across the producing region to merge with
neighbouring conurbations. You may simply envisage more of the same but bigger
– more people, more buildings, more traffic. Or a city running on new energy and
transport technologies that break reliance on coal and oil? Now think about how this
will be brought about: the forces and agencies that shape public space. Chances are
you’ll think of planning departments and government at all its scales, local, state and
national, of developers, builders, urban planners, landscape architects and engineers.
Chances are too that public art does not spring to mind along with the larger scale
developments and civic projects that transform the material and social environment.
The term ‘public art’ has become synonymous with the kind of sculpture that appears
in town centres or corporate atriums – often the least adventurous of artforms. Yet
art itself – the exercise of creative imagination – is vital to reimagining the city
and its future possibility. In an ideal world that exploits the potential of art along
with technology and engineering, public art is an exciting prospect: a space in the
public domain where creative thought is brought to bear. The current reality of urban
development is somewhat different, however. Art is often an afterthought: the final
addition to a completed project, rather than part of its overall conception. Projects
that engage artists and curators in the development process are still few and far
between. A habit of thought reflected in institutional practice too often deprives
public art of a function beyond that of filling its designated place in a mall or
corporate foyer. Nevertheless, in Sydney today, public art has much to say about the
city – and many ways of intervening in its processes.
Curating Sydney is in part a book about public art – but not in the sense of the
standard definition of public art, categorised purely by location in a public setting.
It highlights art that actively investigates the nature of public place, and that sets
about what artist-architect Richard Goodwin calls ‘the revision of public space’. In

CuratingSydneyText2print.indd 7 10/09/2014 4:15 pm

 chatting about this one day at our institute at UNSW, Goodwin went on to insist that
art justify itself as the beginning of a system for transformation. This conception
of ‘art as the beginning of a system’ couldn’t be further from the conventional idea
of public art as adornment. For a start, Goodwin’s work does not stay put in the
atrium or piazza; it permeates the inner recesses of the city, precisely to expose
and activate public space where you might least expect it – in private buildings
or tunnels beneath the city, for example. ‘Public’, it assumes, is not a given but
something to be claimed through exploration and repurposing, through adaptation
and addition. Goodwin’s project strikes at the heart of our assumptions about how
to build a city; why, he asks, do we construct cities as self-contained boxes with no
consideration of the space in between or potential interconnections?
In a different arena, Natalie Jeremijenko adopts a comparable systems
perspective, initiating discrete public works within the larger framework of an
environmental health project. The core of her public art is (as she says in her TED
talk) ‘a clinic like a health clinic at any other university, except people come into the
clinic with environmental health concerns, and they walk out with prescriptions for
things they can do to improve environmental health, as opposed to coming to a clinic
with medical concerns and walking out with prescriptions for pharmaceuticals.’ Her
prescriptions include things like food to throw to fish in urban rivers, made up of
nutritionally appropriate ingredients, along with chelating agents that bind to and
remove heavy metals from the fishes’ digestive systems; or urban ‘butterfly bridges’
planted with tempting plants and flowers that lure butterflies away from dangerous
traffic and afford them safe passage through the city. In other words, small but
efficacious interventions conceived in relation to big systems.
One way to expand the profile of public art is by increasing its physical scale
and presence (in the manner of Anish Kapoor’s monumental 114.5 metre folly, the
ArcelorMittal Orbit). Another is for artists to take on the larger challenges of urban
development in the 21st century: those of sustainable development and population
expansion, resource management and conservation, emissions reduction and climate
change. The creative systems thinkers discussed in this book develop remediative
actions that address many of the pressing issues of our time. They represent a new
form of public art that doesn’t slot into a designated place for art. Where necessary,
they trace flows across public and private boundaries, open up new public spaces,
or question habitual practices, changing the way we inhabit and conceptualise the

8 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 8 10/09/2014 4:15 pm

 domain of the city. This is not art that waits to be curated into institutional space; it
is art that is operative in public space, itself curating the urban environment. Hence,
this book is about curating a city, in the literal sense (the Latin curare means ‘to take
care of’). We ask how the arts might ‘care for’ – curate – the city.*
It has become impossible to talk about the future of the city without
addressing the future of the planet. Problems of sustainability and adaptation to
climate change are now too big and multifaceted for planners and policy makers
alone. We need to effect ‘massive change’, in the words of the design thinker
Bruce Mau. No discipline can do this on its own. In the context of problems that
stymy forums of world leaders, working from the arts has both ironic appeal and
serious value. If art doesn’t generally solve world problems, its value often lies in
abandoning the unproductive discourse of mainstream politics for creative leftfield
approaches. ‘Art-thinking’, like the more formally established practice of ‘design-
thinking’, casts problems in a new light and shows us when solutions don’t in fact
reside in current structures, organisations and practices. It envisions new ways of
thinking, seeing, operating.
If Curating Sydney is a book about new forms of public art, it is also more
than this. We extend the notion of curatorship to examine how the arts might
constitute new perspectives and pathways, leading us through the city and serving
as a ‘guide’ to specific physical locales or areas of inquiry. The book itself is a mode
of curating in this way – a model of doing something with art, operationalising the
ideas and models provided by creative thinkers. Essentially we invite the reader
to use the rich resource of public art, which we construe in diverse but always
exploratory terms: from a roadtrip to Botany Bay, exploring zoning collisions and
traffic islands with architect Teddy Cruz (Part 1), to Ash Keating’s procession of
rubbish-clad figures in a shopping mall or artist Jeanne van Heeswijk’s exploration
of the impact of Sydney’s waste on the community of Goulburn (Part 2), to artist
David Watson’s swimming of the Parramatta River (Part 3). Art is practical, but
its functionality is distinctive; it expands cultural imagination and possibilities for
thought and everyday practice. For this reason, it is vital to the city as an engine
for change and not just as a ‘creative industry’ driving a particular sector of the
economy. Art is public, not only in the literal sense of being on display. It is the very
means of shaping our public life.

* The book Curating Sydney is one outcome of a larger research project, Curating Cities (p 259). Exhibitions and
public artworks developed within this project are referenced throughout.

introduction 9

CuratingSydneyText2print.indd 9 10/09/2014 4:15 pm

 Ivan and Heather Morison, Sleepers
Awake, 2014. Bungarribee Park,
Western Sydney (collaboration
between the MCA and Western
Sydney Parklands under the
C3West program).

10 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 10 10/09/2014 4:15 pm

 introduction 11

CuratingSydneyText2print.indd 11 10/09/2014 4:15 pm

 Pa
imag

12 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 12 10/09/2014 4:15 pm

Part 1
gined
City
introduction 13

CuratingSydneyText2print.indd 13 10/09/2014 4:15 pm

 Richard Goodwin, Denatured
Contingency: The Dissolution of
Architecture, 2011.

14 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 14 10/09/2014 4:16 pm

 15

CuratingSydneyText2print.indd 15 10/09/2014 4:17 pm

 castles in

16 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 16 10/09/2014 4:17 pm

 castles in the air

s in the air
Imagine Sydney in the year 2030. It will be green, global and connected,
according to the vision published in 2009 by the City of Sydney. The city
centre will be activated 24/7, forming the hub of a network of villages,
linked by green corridors of pedestrian and cycleways. In city planning
terms the vision has shifted noticeably from the tentative aspiration of 20
years ago to create a ‘vibrant city of world standing’. Twenty-first century
Sydney assumes itself to be a well-connected World City. Its brand is
not just aspirational but ‘high touch’: green, global and connected affirms
belonging – connection to the world, to the planet, to places not yet built
behind the hoardings of new civic developments of the 2010s.
Like global connectivity, greenness is today asserted as a matter of
fact. A few years ago in Green Square, a world leading eco-village was
announced ahead of construction – and in the absence of natural life
forms – with a wash of olive-coloured bollards. Gamely overriding the
ambient reality of a busy traffic intersection, signage in front of the Botany
Road car dealership declared, ‘Green is the colour of everyday life.’ At the
other end of town, a development at One Central Park on Broadway boasts
the world’s tallest vertical garden. No less direct in its self-proclaiming
green-skin, this arresting icon is the touchstone for a look of the moment.
Grass-clad rooftops, referencing Manhattan’s High Line, the elevated track
turned parkland, are proliferating in Sydney’s upscale developments; further
afield, plant numbers have become a metric for distinguishing hotels like
Singapore’s ParkRoyal on Pickering, which boasts 15 000 square metres of
sky gardens (‘a jungle in the sky’) or Milan’s Bosco Verticale, which brings a
hectare of forest into the central business district (CBD).

17

CuratingSydneyText2print.indd 17 10/09/2014 4:17 pm

 Patrick Blanc, vertical garden for
Jean Nouvel’s One Central Park under
construction, 2013.

Such emphatic self-cladding requires no interpretation: it simply

declares itself Green. Living buildings are, in the words of Bosco Verticale’s
architect, Stefano Boeri, ‘ecology billboards’, commandeering wall space to
deliver the green message and all-round experience within the structures
that embody the aggressive scale and grandeur of urban development. But
if, indeed, these ‘billboards’, like the literal signage at Green Square, give
advance notice of a green future, what kind of city do they announce?
Billboards, by nature, do not embody new form and in this sense give us
little concrete indication of the shape or style of things to come. Twentieth
century artists and architects conjured futuristic cities of soaring skylines,
inspired by waves of Manhattan Deco and International Modernism.

18 c u r a t i n g s y d n ey

CuratingSydneyText2print.indd 18 10/09/2014 4:17 pm

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