Common Ground

Biennales have often upheld the idea of the artist as a singular genius. But for Hannah Donnelly, artistic practice isn’t just about individual talent. It’s a consequence of connections between people and intergenerational knowledge that’s nurtured and passed down.

Donnelly, a Wiradjuri curator, writer and producer, is part of the curatorium for the 23rd Biennale of Sydney, championing the work of groups such as Iltja Ntjarra (Many Hands) Art Centre, Casino Wake Up Time and New Zealand’s Mata Aho Collective. But a collective ethos, she says, doesn’t just define the artists presenting work at the Biennale. It shapes the curatorial vision itself.

“It’s really exciting, seeing the rise of collectives, co-artistic directors and curatorial models,” she smiles. “For me, working with collectives and working on First Nations land is about things that are actually good practice—consensus decision-making, the principles of free, informed and prior consent. It