Select Projects (2017 - 2019)

Arcs d'Ellipses

Felice Varini

World-renowned artist Felice Varini's installation, Arc d'Éllipses spanned 800 meters of High Street in Fremantle, customed designed to cascade from the Round House to the Town Hall. This monumental artwork was revealed over the course of one month and required a small army of assistants, volunteers and specialised equipment. Arc d'Éllipses emerged for the first time on Saturday 28 October as the work was sequentially applied over twenty five heritage listed buildings within Fremantle's historic West End precinct. This was Varini's first major commission in Australia and his largest in the Southern Hemisphere.

This project was been assisted by the Australian Government through the Australia Council for the Arts, its arts funding body and advisory body. Arc d'Ellipses was supported by the State Government through the Department of Culture and the Arts. This project was generously supported by Mary Hill in memory of the late Chris Hill, The University of Notre Dame, Quest Fremantle and the City of Fremantle.

Arcs d'Ellipses (2017); acrylic on aluminium; 62 x 35 x 800m
Documentation illustrates the work, and the installation process | Images courtesy of Fremantle Biennale | Photos: Robert Frith, James Whineray, AA.


Studio Roosegaarde

An Australian premiere in Fremantle, Studio Roosegaarde presented a large-scale light installation illustrating the universal power and poetry of water. 'WATERLICHT' is larger-than-life; cascading waves of blue light soared in the middle of Esplanade Park, simulating a virtual flood and calling attention to rising water levels along Fremantle's shoreline. The work embraced the unique physical features of the site while acknowledging its past. A soundscape accompanied the work, including local stories about Fremantle's waterfront by traditional custodians, prominent civic figures, historians, artists and community members. These stories live on as an enduring legacy of the work's appearance in Fremantle, and serve as a stirring call-to-action for a city-wide conversation around clean water initiatives and climate change.

Photos: Duncan Wright, 2019.

South Mole Resort

Jessee Lee Johns

Set within the industrial and iconic environment of Fremantle's working port, Jessee Lee Johns' Commonwealth of New Bayswater presents South Mole Resort – a self-proclaimed republic and opulent beachside community, South Mole Resort was open to the public for the duration of the Biennale. Visitors shopped at the souvenir store, booked in to the day spa, took in the views from the stunning bar and restaurant, experienced the resorts many live events, and even spent a night at the South Mole's exclusive bungalows (meals and entertainment included).

Articles: Annihilation then Vacation by Jess Day in Semaphore | South Mole Resort by Michael Barker in Fremantle Shipping News

Photos: Duncan Wright, 2019

Standing Wave

Lawrence English

Lawrence English's sound work echoed from within the submerged politics of the cold war; exploring variable pressure, material acoustics and the intensities of resonance. This site-responsive work was staged inside the HMAS Ovens Oberon Class Submarine at the WA Maritime Museum.

Articles: Lawrence English to perform inside a submarine at the Fremantle Biennale by Henry Bruce Jones in Fact mag

Photos: Duncan Wright, Rebecca Mansell and Tom Mùller, 2019.

Sleeping with the Sun

Kayako Nakashima
intervenes within architectural spaces through the use of perforation, light and liquid. For the 2019 Fremantle Biennale, Artsource's Old Customs House was transformed into a sea of sunlight. Here the artist constructed an artificial built environment, manipulating the buildings central void and natural light source. The viewer was invited to enter and witness the subtle dance of golden rays conversing with the reimagined space of the Old Custom House.

Photos: Duncan Wright, 2019.


Zweitgeist (Horst Kornberger & Tom Mùller)

Seaborn was a contemporary performance ritual by the Zweitgeist collective to mark the commencement of the first Fremantle Biennale. The event was conceived as a meta-artwork that involved individual artists working with site-specific responses in a collective equally site-specific performance piece. The emergence out of the sea of fully dressed artists at the iconic Bathers Beach, Fremantle, served as a metaphor for the artistic 'High Tide' that the Fremantle Biennale aims to bring about. Seaborn involved a community of creators, participants and supporters in an 'alignment ritual' that articulated collective intent through collective enactment.

Photos: Duncan Wright and Tom Muller, 2017.

Art Crawl

A walking tour of Fremantle taking in select artworks and events from the Fremantle Biennale.

Photos: Duncan Wright, 2017 and 2019.