But what brought a scientist and an artist together to discuss such a seemingly odd topic at the Mortuary Station in Sydney?
The public discussion was one of a series of public talks organised in the context of the 20th Biennale of Sydney. The Biennale of Sydney was the first biennale to be established in the Asia-Pacific region. It provides an international platform for innovative contemporary art and, in 2014, it received over 665,000 visitors. In the 20th Biennale of Sydney, the exhibition took place at seven main venues convinced as ‘embassies of thought’. Mortuary Station was the Embassy of Transition, one of the leading non-museum venues of the Biennale of Sydney and the official site of Marco Chiandetti’s work.
When Mr Chiandetti first contacted Dr Griffin in June 2015, asking her to share her long-standing knowledge of the ecologically highly successful common myna, she thought that like often in her experience, he was mistaken. Surely, he actually wanted to know about the native noisy miner? But no, his interest was well and truly in the introduced myna. It soon became clear that the choice of this uniquely displaced avian species could not have been more appropriate choice as a vehicle for the symbolism of his art. Over the following 12 months, Dr Griffin helped guide the implementation of his creation.
For the 20th Biennale of Sydney: The Future is already here – it’s just not evenly distributed, Chandetti designed an installation that took the form of a series of sculptural aviary structures inhabited by common mynas. The temporary exhibition of myna birds at Mortuary Station was designed to raise a greater social consciousness about our contemporary condition in relation to the excessive expansion of human population, prompting audiences to reconsider the way we perceive such a resilient species. It was encouraging to discover in the Q&A session that the public had interest in both the artistic exemplars as well as the biology, behavior and science of common mynas.