Sydney Biennale's rīvus explores ecological relationships through Indigenous and non-human perspectives

The 23rd Biennale of Sydney, titled rīvus, opened in March across six venues along waterways of the Gadigal, Barramatagal and Cabrogal peoples, closing on 13 June. This exhibition investigates human relationships with the natural world through rivers, wetlands, and freshwater ecosystems as its framework. Barkandji artist Badger Bates presents a steel sculpture of the Ngatsi rainbow serpent at the Cutaway, referencing the threatened Barka Darling River. Marjetica Potrč collaborated with Wiradjuri Elder Uncle Ray Woods at the Museum of Contemporary Art to depict the Galari Lachlan River and Slovenia's Soča River. Abel Rodríguez shows meticulous studies of Amazonian plants. The biennale features non-human participants including a 365-million-year-old fish fossil and vertical screens displaying river 'voices' through Indigenous custodians. At Barangaroo, United Visual Artists and Bernie Krause present The Great Animal Orchestra, a sound installation of 15,000 animal calls. The exhibition opened during unprecedented rainfall that flooded Australia's Eastern seaboard, causing water damage to some installations. Curators pose questions about non-human entities, while critics note the absence of discussion about Australia's coal exports and fossil fuel sponsorship of art events. The exhibition spans venues including the Cutaway, Museum of Contemporary Art, and Barangaroo in Sydney.