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Teatro Della Terra Alienata

DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA
DAB Architecture, staff project TEATRO DELLA TERRA ALIENATA

Teatro Della Terra Alienata

Amaia Sanchez Velasco, Jorge Valiente Oriol, Gonzalo Valiente, Miguel Rodriguez-Casellas

Teatro Della Terra Alienata (Theatre of the Alienated Land) is the name of the Australian Pavilion designed by the UTS Faculty of Design, Architecture and Building at the XXIII Triennale di Milano: Broken Nature. The work responds to the recent mass coral bleaching events that signalled the rapid decline of the Great Barrier Reef and frames its decay as a wicked problem that demands urgent and radical political intervention.

In 2018, the Australian government decided to partially outsource the preservation of the reef – Earth's largest living structure – to the Great Barrier Reef Foundation, a charity supported by major mining and insurance companies, banks, and airlines. The current preservation of the reef is managed by a technological apparatus that monitors and manicures to maintain the “natural spectacle” alive.

Teatro Della Terra Alienata portrays this technological arsenal as a ‘theatre of distraction’ that conceals the biggest threats to the GBR’s survival: the global dependency on fossil fuels and unbridled growth, and a local economy devoted to mining, fracking and intensive agriculture. The exhibition is an architectural installation with two sides. At the front, it presents the technologies of preservation that currently operate at the reef, at the back it stages a 30-minute film that imagines a fictional future where the activities driving the Great Barrier Reef’s degradation are dismantled and the reef and its catchment areas become a testing ground for alternative political imaginaries around an economy of joy, open borders and deceleration.

The work blends the creative work of UTS researchers with selected audiovisual artworks and outstanding student projects from the Factory of Hyper Ecologies studio, a subject led by Amaia Sanchez-Velasco in the UTS Master of Architecture, in collaboration with academics from the UTS School of Life Science. Inspired by Laboria Cuboniks’ Xenofeminist Manifesto, it was the winner of the Triennale di Milano’s highest honour, the Golden Bee.

Researchers
Amaia Sanchez-Velasco, Jorge Valiente Oriol, Miguel Rodríguez Casellas and Gonzalo Valiente.

Contributors
Audiovisual artworks were contributed by some of Australia’s most prominent artists, including well-known environmentalist Janet Laurence, Çiğdem Aydemir, Shoufay Derz, Liam Benson, Madison Bycroft and Patricia Reed.

School of Architecture
Acknowledgements

Photographs by Omar Sartor. 

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DAB Staff Project: Indo-Pacific Atlas, by Urtzi Grau & Cristina Goberna Pesudo

Indo-Pacific Atlas

Cristina Goberna Pesudo, Urtzi Grau

DAB Staff Project: Formations: New Practices in Architecture, by Anthony Burke & Gerard Reinmuth

Formations: New Practices in Architecture 

Gerard Reinmuth

DAB Staff Project: Drawing the Barcelona Pavilion: Mies Van Der Rohe and the Implications of Perspectival Space, by Desley Luscombe

Drawing the Barcelona Pavilion: Mies Van der rohe and the Implications of Perspectival Space

Desley Luscombe

Acknowledgement of Country

UTS acknowledges the Gadigal People of the Eora Nation and the Boorooberongal People of the Dharug Nation upon whose ancestral lands our campuses now stand. We would also like to pay respect to the Elders both past and present, acknowledging them as the traditional custodians of knowledge for these lands. 

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