Artwork Description

As [the artwork] is absorbed back into the laneway it will become grimy and weathered, and will soon be less visible. In a way, drawn back into the fabric of the city that produced it.

– Agatha Gothe-Snape (2017)

Here, an Echo was developed by Agatha Gothe-Snape during the 20th Biennale of Sydney: The future is already here – it’s just not evenly distributed, curated by Stephanie Rosenthal. Created in collaboration with choreographer Brooke Stamp, this long-form project involved research, conversations, performances, and walks, focusing on an area extending from Speakers’ Corner in The Domain to Wemyss Lane, Surry Hills.

In this second iteration of the work the results of this period are manifested in a series of 14 words and phrases that appear for perpetuity in Wemyss Lane, Surry Hills. Open to interpretation, yet with specific origins, the texts become a kind of score where the act of reading and walking becomes intertwined – a choreography for the city.

PUBLICATION

In addition to the public artwork in Weymss Lane, Here, an Echo takes the form of a physical publication. A digital iteration of this component of the work is available below:

HereAnEcho_Button_Texts

HereAnEcho_Button_Images

HereAnEcho_Button_Scores

THE ARTIST

In her wide-ranging conceptual practice, Agatha Gothe-Snape often turns to improvisational performance. Working with ephemeral materials and subtle alterations to space, she uses language and choreography as her chosen mediums – to question our relationships to one another, to art, and to the contexts and histories in which all these are situated.

 

Commission

The City of Sydney has committed to commission one major artwork from each of the 2014, 2016 and 2018 Biennale of Sydney exhibitions.

The first, City of Forking Paths, by Janet Cardiff and George Bures-Miller, was commissioned by the 19th Biennale of Sydney: You Imagine What You Desire (2014), curated by Julianna Engberg.

Here, an Echo is the second City of Sydney legacy artwork that will remain in Sydney as a permanent legacy. It was commissioned for the 20th Biennale of Sydney: The future is already here – it’s just not evenly distributed (2016), curated by Stephanie Rosenthal.

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