Curating 'Now': Biennial models, their discontents, and the shaping of contemporary discourse
Biennials often attract criticism for their globalist ambitions and top-down methods. Yet, they are not losing momentum as fixtures of the contemporary art landscape, expected to platform the art of now. Amid a shift away from traditional canons, and acute global political tensions, biennials are at the frontline of contemporary art’s engagement with public discourse.
‘Curating Now’ is a new program series that considers distinct curatorial forms of contemporary exhibition-making through critical case studies by international curators. The first session features Stefanie Hessler and David Teh, and is moderated by Olivier Krischer and Anabelle Lacroix from UNSW Art & Design.
Together, Hessler and Teh offer timely reflections on how curators leverage exhibitions to (re)activate sites, wage or amplify debates, excavate or recuperate overlooked histories, enact communities, and speculate futures. They question: Are biennials limited by their ‘international’ remit, or can they serve as a conduit for deep ongoing research? How do curators navigate these expectations and experiment with new curatorial models to shape critical conversations?
Stefanie Hessler: Biennials between sensory knowledge and infrastructural critique
Stefanie Hessler will present on two curatorial projects: Sensing Nature, for the 2021 Momenta Biennale, Montreal, and the forthcoming Counterpublic Triennial, St Louis (co-curated with Jordan Carter, Raphael Fonseca, Nora N. Khan, and Wanda Nanibush, opening September 2026). Through these projects, Hessler explores how she works with artists through long-term commissions to address overlooked or erased histories, and how they draft alternative futures. These projects explore ideas and methods of sensing and creating infrastructural change, locally and on a planetary scale.
David Teh: Loose Canons: biennials and contemporary art's disorderly history
Through a selection of recent curatorial projects, David Teh explores the interplay between history and exhibition in the fast-evolving landscape of Asian contemporary art. He starts with the prospect of a ‘global’ canon, as mooted in his exhibition Misfits: Pages from a Loose-leaf Modernity (2017, Berline), a response to the First World museum’s newfound desire for non-Western modernism. In our still uneven landscapes of collection, how might contemporary art history be advanced or impeded by the proliferation of biennials, where historical players (like dead modernists) are increasingly fair game? Drawing on his recent biennial exhibitions in Istanbul and Phuket, Teh asks: What purchase can these platforms have on the past, and on contemporary art’s disorderly historicisation?
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Stefanie Hessler's research and travel is supported by the International Curators Program, which is funded by the Australian Government through Creative Australia, its principal arts investment and advisory body, and the Keir Foundation.
‘Curating Now’ is an ongoing programming series developed in partnership between UNSW Galleries and UNSW’s Masters of Curating & Cultural Leadership Program.
Stefanie Hessler is a curator, writer, editor, and institutional leader. Her work centres artists and ideas through new commissions, transdisciplinary collaborations, and experimental formats, often with a focus on ecologies and technologies. She currently serves as the Director of Swiss Institute (SI) in New York. At SI, Hessler initiated the long-term curatorial project Spora, which invites artists to transform the institution through ‘environmental institutional critique’, and curated solo shows by Saodat Ismailova, Raven Chacon, Ali Cherri, and Lap-See Lam, as well as the East Village-wide exhibition Energies. Other recent and forthcoming exhibitions include the Counterpublic Triennial titled Coyote Time, St. Louis; the Pavilion of Finland at the 61st Venice Biennial; Elevation 1049: Energies, Gstaad; Parcours, Art Basel; Sex Ecologies, Kunsthall Trondheim; Sensing Nature, the 17th Momenta Biennial, Montreal; Rising Tides, Gropius Bau, Berlin; Joan Jonas, Ocean Space, Venice; and the 6th Athens Biennial. Hessler holds a PhD from the University of Westminster, London, titled "Toward a Curatorial Praxis of Planetarity," is the author of Prospecting Ocean (The MIT Press), and has edited over a dozen volumes. She was named among Apollo’s 40 under 40 and ArtReview’s Power 100.
David Teh is a writer, curator and Associate Professor at the National University of Singapore, researching Southeast Asian modern and contemporary art. His curatorial projects have included 'Misfits: Pages from a Loose-leaf Modernity (HKW Berlin, 2017), Returns' (12th Gwangju Biennale, 2018) and the 17th Istanbul Biennial (with Ute Meta Bauer and Amar Kanwar, 2022). He is currently Artistic Co-Director of Thailand Biennale Phuket, 2025. David's publications have included Thai Art: Currencies of the Contemporary (MIT Press, 2017) and Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992-98 (co-edited with David Morris; Afterall, 2018).
Dr Olivier Krischer is a historian and curator of art from East Asia and the Asian Australian diaspora, whose research concerns modern and contemporary transcultural art, photography and intermedia practices. His curatorial projects include ‘Assembly’ (2023), featuring eight Hong Kong-born artists, ‘Wayfaring: Photography in 1970s–80s Taiwan’ (2021) and ‘Between: Picturing 1950–1960s Taiwan’ (2016). His publications include John Young: The History Projects (2024), Zhang Peili: From Painting to Video (2019) and Asia through Art and Anthropology: Cultural Translation Across Borders (with F. Nakamura and M. Perkins, 2013). Krischer is a Lecturer at UNSW School of Art & Design.
Dr Anabelle Lacroix is a French Australian curator, writer, and academic, working independently from Gadigal Nura/Sydney. Working with exhibitions, public programs, and radio, Lacroix is particularly interested in the overlapping field of curating and writing, involving performance, sound, speech, and publishing. Their research focuses on the politics of sleeplessness and sonic curatorial methods for transforming the museum at night together with the public, to shape who has a voice in the art institution. Lacroix teaches Art History, New Media and Curating at UNSW. They have worked as a curator with the Centre Pompidou, Fondation Fiminco, the Australian Centre for Contemporary Art and Liquid Architecture, among others, and regularly contributes to contemporary art criticism and scholarship.
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