“Revolutions, forms that turn” is the theme for this year's Biennale, a phrase which seems appropriate to the style of art produced today. The works exhibited are united by the artists not being afraid to push the boundaries on social issues that include poverty, war, and discrimination. Many artworks relate to previous revolutions in time, others display revolutions in their works and some just make the mind spin in revolutions from confusion. 

Whilst some venues like the NSW Gallery of Art dealt mostly with physical revolutions (circles), the mysteriously enchanting venue of Cockatoo Island challenged audiences with references to previous revolutions in time. The ride to Cockatoo Island, with its sweeping harbour views and clear skies is almost an artwork in its self. Once you arrive, many of the exhibitions on Cockatoo Island are worth a mention Chen Xiaoyun’s in particular, with his video “<Bi>: A mythical wild animal- symbol of durance” (2008). Rather than looking back to previous revolutions, the Chinese artist deals with the revolutionary changes currently occurring in his home country of China. Chen addresses the population of his home country, as well as providing the rest of us an insight into the oppression of living in such an over-crowded and industrialized nation.

The artistic power of Chen Xiaoyun’s cannot be doubted. Fascinating ideas, effort and intimate emotions are deeply imbedded within the video. On reading the accompanying text, many viewers more aptly appreciated the pain of the mythical creature, and were drawn to the feeling of frustration and entrapment. Works such as Lara Favaretto‘s 'Pontoon' were more difficult to decipher. Even after reading the citation it remained difficult to understand how a bunch of compressed air tanks, blowing air into balloons and poppers could be 'art'.

On visiting Cockatoo Island, I took care to bring along someone completely unfamiliar with the art world, as a contrast to those literate in the world of contemporary art. This turned out to be my mother! She seemed amazed at the types of art being produced (the different forms), it was a shock as she was expecting more traditional art. She attempted to maintain an open and "contemporary" mind but some concepts seemed just too hard to grasp. Upon arrival at Lara Favaretto’s exhibition, my mother was shocked, and with a gasp and a confused look, she asked, “How is this art? If something this simple is art, why can’t I be an artist?” Her shock brought another question to my attention: From the clichéd question 'what is art?', came an even more interesting one: 'what makes an artist?'.

Shock has always been a primary force in the advancement of the art world, with impressionism being a perfect example. Who would have thought in the colourful world we live in today, that these artists were once rejected as rebels because they used vibrant colours and short brush strokes? The impressionists inspired future movements such as cubism and the fauvism. These artists wanted to open the doors of art, to look at art and the world differently. Marcel Duchamp made his biggest contribution to the art world in 1913 with his 'ready-mades'. Duchamp, an artist who was forever told that his artworks were unacceptable took a stand. Whilst any of us could have placed an upside down bicycle wheel on a stool and called it art, Duchamp did this with passion and meaning. He wanted to shock and upset the art world that had rejected him. He managed to revolutionize the art world, starting a new phase which questioned our assumptions about what is, could and should be. This year’s Biennale is defiantly no exception. A majority of all the Biennale artworks, are shocking in their own way. Usually they are shocking enough to grasp the attention of some one, long enough so that a message or opinion can be expressed.

Unlike Duchamp, the Biennale exhibited many artists that seem more interested in shock value itself than having the artwork's meaning. There is nothing better than an artist passionate about a cause, and using their talent to raise awareness. It is one of the beautiful things about art. When viewing an artwork, it has become apparent that the work itself is only as good as the citation next to it. Behind every great artwork there is a great artist, and those who simply want the momentary attention of the media, to have their name in lights, are soon forgotten. It is the artworks that inspire you, or challenge the way you understand the world which are remembered long after the frame comes down. Whilst many of the great impressionists, such as Cezanne and Monet were not acknowledged during their own time, today it is their names which are remembered.

For a look inside the world of art and revolutions inspired by art, Cockatoo Island is the Biennale venue to visit. The Emory Douglas exhibition on the higher part of the island, explores injustices suffered by the African-American community, including confronting news footage of the time, as well as posters designed by Douglas showing his fight for human rights. This is a great example of a recent revolution, where African Americans could express their thoughts in art. The revolution that was the desegregation of African American communities had great effects around the world. Even in Australia the effects were felt, as inspired university students took off on a bus to rural Australia, becoming the "freedom riders" and sparking change in the minds of many Australians towards Indigenous Australians. Emory Douglas produced artwork that not only raised awareness for the injustices suffered by his people, but also the other injustices suffered around the world.

If there is any time to spare once you have arrived back on the mainland, the Museum of Contemporary Art definitely has some pieces worth a look. On entering, Leon Ferrari’s “Western and Christian civilization” captures the viewer with its immediate outspoken attitude towards violence that is easily interpreted on a first glance. The artwork which displays a American aircraft with Jesus Christ in the crucifixion pose was produced during the time of the Vietnam war, and depicts two of the most talked about topics in the last fifty years, war and religion. The so called 'serpent room' gained a lot of attention, while Shamila Samant’s 'Against the Grain' is a colourful delight. Wandering through the room which is completely covered in carved serpents is a testament to the fact that art comes in many forms.

Art has been around since the beginning of time, and although it has expanded in the sense of form, understanding and social acceptance dramatically, especially in the last few hundred years, it remains a highly controversial form of self-expression. If history has taught us anything it is that art will be utilised as a forum for these controversial issues to be debated fervently, and finally become accepted and 'passé'. It seems this cycle will continue for many years to come, with debates and flaring and subsiding infinitely. Ultimately we must accept that art and its forms are constantly changing, as we ourselves change. So we must consider, art is perhaps not changing with the times, but the times are changing with art.