Abstract
This chapter focuses on the sixteenth Biennale of Sydney titled Revolutions – Forms that Turn as a unique biennale that incorporated modern and contemporary kinetic artworks in order to reflect on time, revolution and movement in modern, postmodern and contemporary art. Consequently the biennale is useful for considering the changing conceptualisations of movement, temporality and contemporaneity. I argue that the curation of the biennale is emblematic of the peculiar relationship to time in contemporary art; a present that unfolds in time, while also accumulating and preserving the past within it, to which the role of actual movement in Revolutions – Forms that Turn were critical in forming.
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Chau, C. (2017). Revolutions—Forms That Turn. In: Movement, Time, Technology, and Art. Springer Series on Cultural Computing. Springer, Singapore. https://doi.org/10.1007/978-981-10-4705-3_2
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DOI: https://doi.org/10.1007/978-981-10-4705-3_2
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