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  • 관련 이미지
    등록일 :[2017-08-17]

    2017 Gwangju Biennale Education Program for teachers _Experience contemporary art and culture in dialogue with artists & other creatives [ART GREEN] Field Practicum followed by Exhibition Opening @ArtPoligon, Horanggasinamu, Gwangju, 18:00PM on 12th Aug Check out the artworks by teachers created through GB Education Program. Exhibition runs untill 19th Aug.

  • 관련 이미지
    등록일 :[2017-07-31]

    Kim Sun-Jung, the president of Gwangju Biennale Foundation. Courtesy of Gwangju Biennale Foundation. Gwangju Biennale Foundation 111 Biennale-ro, Buk-gu Gwangju 61104 Republic of Korea www.gwangjubiennale.org Gwangju Biennale Foundation announced that Kim Sun-Jung, director of the Art Sonje Center, was appointed as their new president at the 155th session of its board of trustees, held on July 13, 2017. Prior to joining the foundation, Kim Sun-jung was the Director of the Art Sonje Center, which plays a crucial role in exhibiting and fostering contemporary art in Seoul. She co-curated the 2012 Gwangju Biennale with the theme “Roundtable“. She served as the artistic director of Mediacity Seoul 2010, and commissioned the Korean Pavilion at the 2005 Venice Biennale. Kim Sun-jung is also known for her work on the ambitious Real DMZ Project, a series of exhibitions held since 2011 near the demilitarized zone between North and South Korea. The Foundation’s board of trustees stated Kim Sun-Jung was considered the most suitable candidate to successfully strengthen the Gwangju Biennale’s reputation and lead the development with her broad network of art professionals, expertise, and ability to manage based on her career path. According to Kim Sun-Jung, at the press conference after the session of the board of trustees, she aims to develop the Gwangju Biennale as “a platform for learning and connecting with local and global audiences by utilizing different approaches and disciplines.” The Gwangju Biennale, which was first launched in September 1995 in the city of Gwangju in South Korea, is Asia's first contemporary art biennale. Founded in memory of spirits of civil uprising of the 1980 repression of the Gwangju Democratization Movement, the Gwangju Biennale presents a global perspective on contemporary art. The 12th Gwangju Biennale will take place from September 7 - November 11 in 2018. Media contact : ARA CHO PR & Marketing Department Gwangju Biennale Foundation T +82 (0) 62 608 4222 / F +82 (0) 62 608 4229 ara.cho@gwangjubiennale.org

  • 관련 이미지
    등록일 :[2016-11-02]

    The Museum Folkwang in Essen, Germany, announced today that Lawrence Abu Hamdan has won its 2016 Nam June Paik Award. Given to an artist working with the digital media, the prize comes with €25,000, or about $27,000. Abu Hamdan won for his installation earshot, which was on view earlier this year at Portikus in Frankfurt. That work, like many others by the Beirut-based artist, considers the way that sound can be political. Abu Hamdan chose to focus on the shooting of teenagers by Israeli soldiers in the West Bank. After he and Defence for Children International investigated the deaths, they found that the soldiers tried to cover up the killings, and even attempted to mask their sound with the noise of rubber bullets. Abu Hamdan then showed the sound analysis of the shootings and exhibited a video that was entirely silent. source : http://www.artnews.com/2016/10/27/lawrence-abu-hamdan-wins-the-2016-nam-june-paik-award/ Earshot (2016) is an installation by Lawrence Abu Hamdan (b. 1985 Amman/Beirut), consisting of a video work Rubber Coated Steel and a series of prints of audio-ballistic analysis of recorded gunshots fired by Israeli solders in the occupied West Bank of Palestine. The installation departs from a murder case that began in 2014 when the artist was asked to analyze audio files that recorded the shots that killed Nadeem Nawara and Mohammad Mahmoud Odeh Abu Daher. His audio investigation, which proved that the boys were shot by real bullets and not rubber ones, became the center of a murder investigation that went through the military courts and international news networks to the US Congress, where it was used to argue that the Israelis had breached the US-Israeli arms agreement. With Earshot, the artist holds his own tribunal for these killing sounds, yet the installation does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today and the aesthetic conventions of evidence itself.

  • 관련 이미지
    등록일 :[2016-11-02]

    Solomon R. Guggenheim Foundation and HUGO BOSS AG announced that artist Anicka Yi has been awarded the Hugo Boss Prize 2016. Yi is the 11th artist to receive the biennial prize, which was established in 1996 to recognize significant achievement in contemporary art. This year marks the 20th anniversary of the prize, which carries an award of $100,000 and is administered by the Solomon R. Guggenheim Foundation. Yi’s work will be presented in a solo exhibition at the Guggenheim Museum, New York, opening in April 2017. source : https://www.guggenheim.org/news/anicka-yi-wins-hugo-boss-prize-2016 Installations by Anica Yi, participating artist for the 2016 Gwangju Biennale, can be viewed in gallery 2 of the Gwangju Biennale Exhibition Hall. Anicka Yi's (b. 1971, Seoul/New York) installations resemble a forensic setting of pop-decorated quarantined tents occupied by para-scientific assemblages. In one room, we see a mix of beeswax, dried shrimp, seaweed, and pigment powder on strange aggregations on top of the table. In another, scent is diffused from a motorcycle helmet, in a quasi-industrial setting. Testing the limits of empathy and biopolitical warfare in a decaying patriarchal society, Yi's practice appeals to new sensibilities and scenic strategies to captivate the viewer. We navigate through rooms filled with unexpected scents, microbial designs beyond translucent surfaces, science-fiction micro-universes inside aquariums and tents, and metabolic processes that change with time.

  • 관련 이미지
    등록일 :[2016-10-13]

  • 관련 이미지
    등록일 :[2016-10-10]

    ‘2016 Korea ART WEEK, Biennale-holic’   - Exhibition Guided Tour Walk & Talk, Biennale Seminar, Like! Art - Events Held from Oct.15 (Sat) ~ 16(Sun)         The Gwangju Biennale Foundation will host ‘2016 Korea Art Week, Biennale-holic’ event from October 15th through 16th for the duration of two days.  For this event, there will be a guided tour of the Gwangju Biennale exhibition‘Walk & Talk’ in addition to the ‘Biennale Seminar’for which representatives of Korea’s three Biennales (Gwangju Biennale, Busan Biennale, SeMA Biennale Media City Seoul) will participate in. Moreover, for those visiting the Gwangju Biennale Exhibition Hall during those designated dates, ‘Like! Art’event will take place and participants will have the opportunity to win many prizes and giveaways through SNS photo shot, coloring contest and other events.   ‘2016 Korea Art Week, Biennale-holic’is an event sponsored by Ministry of Culture, Sports and Tourism together with Arts Council Korea in order to raise the national interest in art and to invigorate the culture of art into public life. Thus, with‘Art in Life’as the underlying theme, the slogan‘Like! Art’was created to close the distance and familiarize the public with art.   I like Biennale! On Saturday October 15th, 2016, there will be a Walk & Talk program; a guided tour for the local residents to easily understand the Biennale exhibition. In addition to the main exhibition at the Gwangju Biennale Exhibition Hall, the tour will extend out towards Asia Culture Center, Woo Jaeghil Art Museum, Mudeung Museum of Contemporary Art and other outer sites. To register, please send in the Walk & Talk form to biennaleholic@gmail.com starting from October 1st and the first 80 people will receive a confirmation to participate. The admission tickets are to be individually purchased and for all participants, transportation between exhibition sites and lunch will be provided. Walk & Talk Registration Participants : First 80 people to register (Must purchase Gwangju Biennale Admission Ticket individually) Email : biennaleholic@gmail.com  Contact : 062-608-4253 (Gwangju Biennale Policy Planning Dept.)      I want to know more about Biennale! As a special program for Korea Art Week, the ‘Biennale Seminar’ will be hosted with Daehyung Lee, the appointed curator of the Korean Pavilion for the 2017 Venice Biennale, delivering the keynote address. Following this, representatives of Gwangju Biennale, Busan Biennale, SeMA Biennale Media City Seoul will introduce the theme and overall exhibition as well as open up the discussion about the biennale’s present and future state and the public value of the contemporary art exhibitions. This will be a great opportunity to meet and familiarize with Korea’s three main biennales in one setting, and all questions and comments will be welcomed during this session.   Seminar Registration Email : biennaleholic@gmail.com Contact : 062-608-4253 (Gwangju Biennale Policy Planning Dept.)  Like! Art The‘Like! Art’is an concurrent event for the Art Week to raise the interest of art and to encourage participation for visitors of Gwangju Biennale and local residents.   ∇ Gwangju Biennale SNS Photo Shot - Date : October 15~16, 2016 (Sat ~ Sun, 14:00~16:00) - Location : Gwangju Biennale Plaza - Instructions : Take a proof shot inside the Gwangju Biennale Exhibition Hall with the artworks in display and upload it on your SNS! The first 100 participants will win Biennale souvenir items or coffee coupons.   ∇ Gwangju Biennale Image Coloring - Date : October 15~16, 2016 (Sat ~ Sun, 14:00~16:00) - Location : Gwangju Biennale Plaza - Instructions : Color the images provided by Gwangju Biennale to win a souvenir balloon   ∇ I am an Artist too! - Date : October 15~16 / October 22~23, 2016 (Sat ~ Sun, 4 days total) - Location : Gwangju Biennale Exhibition Hall - Content : On-site programs by 25 I am an Artist too! teams   ∇ Drone Hologram Performance - Date : October 22, 2016 (Sat) - Location : Gwangju Biennale Plaza - Content : Hologram performance using drones by performer Baek Gyu Seok   (Contact) Yuri Policy Planning Dept. Phone (062)608-4253 Email biennaleholic@gmail.com  

  • 관련 이미지
    등록일 :[2016-10-07]

    NOON, the annual journal of visual culture and contemporary art published by the Gwangju Biennale Foundation, has released its sixth volume. The Gwangju Biennale Foundation in order to produce intellectual discourse that which combines esthetics and humanities has annually published the NOON journal since the year 2009. NOON serves as the medium to which discourse on visual culture and contemporary art can translate and project forward into future messages and value. Apart from the Gwangju Biennale Exhibition, social and culture issues of our time and subjects that require detailed discussion are featured as special topics through which great scholars and activists adverted to as the controversial point. The results of such discussion have been published in the following order: the first volume ‘Violence of the Spectacle’, the second volume ‘Monumental & Unmonumental’, the third volume ‘Rethinking Truth, Information and Visual Art’, the fourth volume ‘The Power of Failure’, and the fifth volume ‘Society & Social’. Jacques Ranciere, Slavoj Zizek and many other international scholars have contributed their insightful diagnosis and analysis to the NOON series. The sixth volume of NOON which has been published under the title of ‘Post-online’ has compiled the perspectives and interpretations by specialists in various fields to reflect upon the sociocultural phenomenon and flow of the emergence of communication technology – the online space. This edition of NOON is comprised of the publisher’s remarks by Yangwoo Park, the President of the Gwangju Biennale Foundation; the editor’s note by Dong-Jin Seo, the Chief Editor; six essays on the main subject; a special questionnaire on digital media; the review of Gwangju Biennale 2016 by Maria Lind, the artistic director. Yangwoo Park, the President of Gwangju Biennale Foundation, explained through the opening remarks that the online space which “numerous phenomena and hidden aspects of the world are intertwined” is a “space of uncertainties without a boundary between generations, cultures or regions, in which knowledge and information are provided simultaneously and immediately through different channels.” It is also present and emerges in the theme of this year’s Gwangju Biennale 2016 as the approach and process of “investigation the imaginative, virtual world – the unknown world that does not exist or is now seen” is analogous. Six essays under the subject of “post-online” has been explored by Mark Fisher, lecturer in Visual Cultures at Goldsmiths, University of London; Kwang-Suk Lee, professor of IT Convergence Policy at Seoul National University of Science and Technology; Gabriele Pedulla, professor of Contemporary Italian Literature at the University of Rome 3; Wonhwa Yoon, researcher of visual cultures; Mehdi Belhaj Kacem, writer; Sumi Kang, professor of Art Theory at Dongduk Women’s University Seoul. Additionally, Bartomeu Mari, Director of National Museum of Modern and Contemporary Art, Korea; Berhnard Serexhe, Chief Curator at ZKM; and many international professionals participated in the ‘Questionaire on Digital Media as an Aesthtical-Ethical Dispositif’. NOON is available for purchase in both Korean and English version at the price of 15,000 KRW. It can be purchased online at the Gwangju Biennale Shopping Mall site ( http://mall.gwangjubiennale.org) or contact Gwangju Biennale PR & Marketing Department (062-608-4225).   For more information, please contact the Gwangju Biennale Policy Planning Dept. at 062-608-4245

  • 관련 이미지
    등록일 :[2016-10-05]

    Gwangju Folly III: Folly & Everyday Life—Taste And Beauty     With the follies at Parc de la Villette, architect Bernard Tschumi played with the ambivalent notions that have the same pronunciation; 'folly,' as those strange structures and 'folie,' as in that for 'lunatic,' trying to go beyond the limitations of the existing urban context. In other words, folly in its modern terms is an unstructured mechanism that pushes the boundaries of the structuralized urban environment where it is situated.        This is also the reason why Gwangju is focusing on folly as an alternative space to communicate with the public while overcoming the constraints of the existing city. In order to go further beyond the city’s history and foster accessibility while succeeding the fruits of the previous Gwangju Folly I and II in a productive manner, we chose everyday life in the city as the key concept of the new folly project. It is also the cross point where the abstract and the truth in urban experiences meet each other.     Through Gwangju Folly, we will shed light on the social process of creating a space and bring up the universal issue of 'taste and beauty' among those many things one may experience during a trip. Gwangju Folly III will function as an urban device for revitalization that envisions the future of Gwangju through four follies including View Folly, GD (Gwangju Dutch) Folly, Cook Folly and Fun Pun Folly as well as Mini Folly.     Symbolically connected to and interacting with each other, they will serve as urban follies offering unusual experiences of a place where the everydayness and the unexpectedness intersect. Briefly, we would like to design action verbs to experience the city while making Gwangju Folly III: to see, to walk, to eat and to play.   View Folly: to seeAn observatory platform located nearby Asia Culture Center. At this unique observatory, one can appreciate interactive trivision art works with the landscape linked to the city’s Mudeung Mountain as the backdrop. With its particular look, View Folly itself becomes a photo zone. Moon Hoon, architect famous for his cartoon style sketch, and the media artist group realities:united (Jan & Tim Edler) who created Media skin for the Kunsthaus Graz in Austria, 2003, participate. GD(Gwangju Dutch) Folly: to walkGwangju Biennale Foundation and Netherlands Creative Industry Funds present a folly that offers a different experience of the 'urban daily lives' based on a research about Gwangju led by architects from both countries. Providing Gwangju with a space that encourages walking, it also brings up the potential of follies through various objects and programs. Winy Maas (MVRDV) and Cho ByoungSoo participate. Cook Folly: to eatIn other words, a dining folly. Pursuing a bottom-up strategy—squeezing into the declined area of the city and revitalizing it—this folly is expected to be an exemplary case of urban regeneration. Especially, young locals in food industry were invited to participate in a community-based folly project as partners. The project was led by Jang Jinwoo who has become an idol to the young generation after establishing new food-court style stores in Spindle Market starting from Jang Jinwoo Street Itaewon. Fun Pun Folly: to playFocusing on public engagement, it was conceived as a FUN (Fun Urban Networking) and PUN (Positive Urban Networking) folly for crowdsourcing. First, ideas were selected through a nationwide open call and based on these ideas, eight architects and artists from Gwangju and other cities were invited to participate in an invited competition. Four teams were selected in the final review. Then through discussions and votes made by citizens and experts, Kim Chanjoong the icon of innovation in the Korean architectural scene and the local global artist Jin Siyon were selected as the finalists. Mini FollyFollies for events and pleasure. Korean architect Kook Hyoung-Gul, media artist Syn Sue Gyeong and Leif Høgfeldt Hansen, an architect and professor at Aarhus University along with 12 architecture major students participated in the project. Overcoming the limitation of the site innate in usual follies, Mini Folly was designed to offer urban experiences. For its flexibility, it can be expanded and installed in different places throughout the city and function as a platform for public events in connection with other works. Gwangju Biennale and Gwangju FollyFounded in 1995 to commemorate the May 18 Democratization Movement (1980) and the April 19 Revolution (1960), Gwangju Biennale is one of the oldest and most renowned modern art biennales in Asia. Under the direction of such prominent curators as Lee Yongwoo, Massimiliano Gioni, Okwui Enwezor, Charles Esche, Hou Hanru, Kim Hong-hee, Oh Kwang-Soo, Sung Wan-kyung, Lee Young-chul, Kerry Brower, Jang Suk-won, and Harald Szeemann, Gwangju Biennale has established itself as a major player in the international contemporary art biennale scene. Gwangju Folly project was initiated as part of the 2011 Gwangju Design Biennale led by co-artistic directors Seung H-Sang and Ai Weiwei. Following its second edition in 2013 with Nikolaus Hirsch, 2016 Gwangju Folly III is conceived by Chun Eui-Young and will present new follies under the theme 'Everyday Life—Taste and Beauty.' Hosted by Gwangju Metropolitan City / Organized by Gwangju Biennale FoundationThe Gwangju Biennale Foundation111, Biennale-ro, Buk-gu, Gwangju, Republic of Korea, 61104T +82(0)62 608 4261 5? / F +82(0)62 608 4219

  • 관련 이미지
    등록일 :[2016-09-05]

    PRESS RELEASE: Opening week of the 11th Gwangju Biennale  “The Eighth Climate (What Does Art Do?)”The 11th Gwangju Biennale 2 September–6 November 2016Exhibition Preview: 31 August–1 September 2016Professional Opening: 1 September 2016, 18:00 Forum: To All the Contributing Factors: 2–4 September 2016  www.the8thclimate.org  List of ArtistsAdam Pendleton, Ade Darmawan, Adelita Husni-Bey, Agnieszka Polska, Ahmet Ö\u011F;üt, Aimée Zito Lema, Alma Heikkilä, Amalia Pica, Andrew Norman Wilson, Ane Graff, Ane Hjort Guttu with Daisuke Kosugi, Anicka Yi, Ann Lislegaard, Annie Lai Kuen Wan, Anton Vidokle, Apolonija Šušterši? with Dari Bae, Arseny Zhilyaev, Ayesha Sultana, Azar Alsharif, Babi Badalov, Barbora Kleinhamplová with Tereza Stejskalová, Bernd Krauß, Bik Van der Pol, Bona Park, CélineCondorelli, Christian Nyampeta, Christopher Kulendran Thomas, Claire Barclay, Cooperativa Cráter Invertido, Dale Harding, David Maljkovic, Diogo Evangelista, Dora García, Doug Ashford, Elena Damiani, Emily Roysdon, Eyal Weizman, Fahd Burki, Faivovich & Goldberg, Fernando Garcia-Dory, Flo Kasearu, Goldin+Senneby, Gunilla Klingberg, Hajra Waheed, Hito Steyerl, Hu Yun, Ingela Ihrman, Inseon Park, Iza Tarasewicz, Jasmina Metwaly & Philip Rizk, Jeamin Cha, Jewyo Rhii with Jihyun Jung, José León Cerrillo, Joungmin Yi, Julia Sarisetiati, Katie Paterson, Lawrence Abu Hamdan, Li Jinghu, Lili Reynaud Dewar, Mariana Silva, Marie Kølbæk Iversen, Marie-Louise Ekman, Matias Faldbakken, Metahaven, Michael Beutler, Mika Tajima, Mohammad Salemy, Monir Shahroudy Farmanfarmaian, Munem Wasif, Nabuqi, Nadia Belerique, Natascha Sadr Haghighianwith Ashkan Sepahvand, Nazgol Ansarinia, Nicholas Mangan, Osías Yanov, Otobong Nkanga, The Otolith Group, Pauline Boudry / Renate Lorenz, Philippe Parreno, Prajakta Potnis, Pratchaya Phinthong, Rana Begum, Raqs Media Collective, Ruth Buchanan, Sachiko Kazama, Saskia Noor van Imhoff, Seola Kim, siren eun young jung, Sojung Jun, Søren Andreasen, Suki Seokyeong Kang, Sul Park, Tania Pérez Córdova, Tommy Støckel, Trevor Paglen, Tromarama (Febie Babyrose, Herbert Hans Maruli, Ruddy Hatumena), Tyler Coburn, Walid Raad, Yongchul Kim, Yu Ji, Zhou Tao The curatorial teamMaria Lind, artistic director; Binna Choi, curator; Azar Mahmoudian, Margarida Mendes, and Michelle Wong, assistant curators, and Mite-Ugro, the art collective, as local curatorial associates LocationsGwangju Biennale Exhibition Hall, Asia Culture Center, 5.18 Archives, Mudeung Museum of Contemporary Art, Uijae Art Museum, Woo Jaeghil Art Museum, Mite-Ugro, Nuribom Community Center, Hansaebong Agriculture & Eco Park, The Roundabout Revolution, Seo-gu Culture Center, Daein Market, www.informationskies.com AssociatesGwangju: Asia Culture Center, 5.18 Archives, 18 May Mothers House, Gwangju International Center (GIC), Chosun University, Chonnam University. Seoul: RAT School of Art, Hongik University, Seoul National University—Asia Center, Dongduk Women’s University. International: The New Center, Inter-Asia Biennale Forum  Premise The exhibition part of the 11th Gwangju Biennale entitled “The Eighth Climate (What Does Art Do?)” opens to the public on 2 September 2016. The title is not a “theme” or a “concept,” but rather indicates a set of parameters of GB11. It is about placing art centerstage, art’s capacity to always say something about the future, connect dots over small and big distances, embeddedness in particular situations, and mediation. What happens if we try to tease out more of the artworks in this eclectic, kaleidoscopic, and puzzling adventure? If we accept their invitation to engage, and take their interpellation more at face value? One of the things which we might end up doing is to enter a dance of futurity where the past is neither completely forgotten nor a guiding light. In this sense, GB11 is a temperature check of art today. CompositionGB11 is also a constellation of many parts happening over one year, starting in January 2016. Thinking thoroughly about what art does—without necessarily implying a utilitarian approach—how artworks land in different contexts, and how they sit in society and create ripples on the water, GB11 comprises Monthly Gatherings, or Wol-rae-hoe, made together with the local curatorial associates Mite-Ugro in Gwangju, an Infra-School in Gwangju, Seoul, and beyond, around a hundred national and international Biennale Fellows, a Forum with the Fellows, two publications and a blog designed by Metahaven, as well as an exhibition which stretches from the Gwangju Biennale building to other venues and places in the city, including Asia Culture Center and the 5.18 Archives, and online.  Opening Week The opening week is a moment to celebrate this ongoing process of conjunction, convergence, and multiplicity together with the ninety artists who are present, but also open up the crucial nodal points for furthering the process and for debate, which includes the presentation of twenty-eight commissions and a lively program. Among the commissions are Dora García’s reconstruction of the Nokdu bookstore that played a crucial role in the 18 May 1980 Uprising in Gwangju, Cooperativa Cráter Invertido’s and Hu Yun’s engagement with the 5.18 Archives, Metahaven’s new film Information Skies, only available online (www.informationskies.com), Jewyo Rhii with Jihyun Jung’s scattering storytelling machines for makers, and Gunilla Klingberg’s feng shui inspired vinyl cut-out moon-cycle patterns applied on the windows of the Uijae Museum by the Mudeung mountain.  There will be a number of events, such as the performance by Fernando Garcia-Dory in collaboration with Hansaebong Dure in the last rice field in the city, and a series of gatherings by Apolonija Šušterši? with Dari Bae and the Nuribom community about taking town-planning into their own hands. Many existing works and projects are brought to Gwangju for our scrutiny and experience too. One of the existing works is Eyal Weizman’s 2013 Gwangju Biennale Foundation folly, Roundabout Revolution. Most of these contributing artists will give personal introductions to their own works besides the curatorial team’s own introduction to the Biennale.   “The Eighth Climate”The “eighth climate” of the exhibition’s title refers to a state, or inter world, one might reach using imaginative capacities. The notion of the eighth climate dates back to 12th-century Persian mystic and philosopher Sohrevardi, and was elaborated by 20th-century French philosopher Henri Corbin. It is an addition to the seven physical climates of the Earth identified by ancient Greek geographers. Unlike the seven Earthly climates, the eighth climate is not based on a separation of matter and spirit, history and myth; rather, it is ontologically real and has concrete effects. It is characterized by its imaginative qualities and potentiality. In this way, the eighth climate shows interesting parallels with how contemporary art is functioning. The eighth climate might well resonate with global warming. However, in the context of GB11, the eighth climate helps us explore art’s capacity to say and do something about the future, without either being paralyzed by its prospects or defaulting to established technologies of prediction. The eighth climate evokes art as a seismograph, detecting change before other means of observation, whether the artists are conscious of it or not, allowing for slightly different—and perhaps ambiguous and conflictual perspectives on how art engages with what lies ahead of us. This neither implies art for art’s sake nor a utilitarian approach. It is not about “art for art’s sake” but rather about “art itself.” Monthly Gatherings—Wol-rae-hoeMonthly Gatherings—Wol-rae-hoe—is a series of informal gatherings in Gwangju, on different scales, running January–November 2016. The term is used in Korea for regular gatherings after scheduled work time at workplaces. Each GB11 Monthly Gathering focuses on art and Gwangju and goes on for two to three days. It is a collaboration between Mite-Ugro, a Gwangju-based art collective which functions as the local curatorial associate of GB11, and the curatorial team. Mite-Ugro’s project space in the Daein Market is the main venue for the events, and the participants are GB11 artists, students, citizens, and initiatives, primarily from Gwangju. The purpose of the Monthly Gathering program is to bring closer together the Gwangju Biennale and the art world in Gwangju, especially its younger sections, through face-to-face contact and formal as well as informal exchanges and conversations. The activities of Monthly Gathering include the donation-based Mite-Ugro Art and Theory Book Collection, group readings, artists screenings, The Art Work in Focus discussion groups, and Curated Walks, and they have all been developed based on perceived needs of the local art scene. For more information on each activity visit www.the8thclimate.org/en/monthly_gatherings Infra-SchoolThe Infra-School is a program in which GB11 connects its curatorial and artistic knowledge to the existing formal and informal educational institutions in Gwangju and beyond. Infra-School consists of lectures, presentations, group discussions, and seminars by GB11 artists and curators. Instead of establishing a new independent educational arm, the Infra-School taps into resources which are already there and intends to multiply connections and expand relations. In doing so, it aims at embedding GB11 in the local, regional, and national ecosystem of art, whereby the mutual benefits and interdependence between different entities become strengthened. Among the Infra-School associates are Chosun University, Gwangju; Chonnam University, Gwangju; Dongduk Women’s University, Seoul; Gwangju International Center; Hongik University, Seoul; RAT School of Art, Seoul; The New Center, New York and online; Seoul National University—Asia Centre; and the Inter-Asia Biennale Forum. For more information on each event visit www.the8thclimate.org/en/infra_school  Forum: To All the Contributing FactorsOn 2–4 September the Forum: To All the Contributing Factors will also take place at which the Biennale Fellows—small- to mid-scale art organizations whose “differential” work is genuinely valuable to the art ecology—peers and colleagues, artists, and other interested people are invited to come together, share experiences, and discuss the future of this kind of work, especially with regards to questions of value, continuity, and scale. Around sixty Biennale Fellows will attend the Forum. A handful of lectures are scheduled, with the author of the outstanding 2007 novel The Vegetarian, Han Kang, writer and researcher Andrea Phillips, poet, gallerist, and “gardener” Hu Fang, Fernando Garcia-Dory, and the author of Minority Commune Shin Ji Young. They will be followed by fellow-led workshops on the second day, to be concluded with hiking together up the Mudeung mountain on the third day. The Forum will be live-streamed by The New Center, our Infra-School associate whose co-founder and GB11 artist Mohammad Salemy also moderates a session.Fellows Roughly one hundred small- and medium-scale art organizations whose work makes important contributions to the art of today are invited as the Biennale Fellows. While being “appointed” Biennale Fellows, they simply go on doing the great work they are engaged with in their own contexts without being concretely involved with the Biennale in Gwangju. Distinct from bigger-scale art organizations such as museums, art fairs, and biennales, these organizations often function as the research and development department of the art world, nurturing artistic, curatorial, educational, social, and political experimentation. Above all, they actively support artists to cultivate their practices and foster contact and conflict zones around themselves, including neighbors and various practitioners from other fields. Yet the significance of their works is not fully acknowledged in a wider art and social ecology, while their self-determined “marginal” or “minor” positions, as well as increasing precarity in the climate of austerity and various crises, are palpable. What if we “connect dots” through such a “molecular campaign” and manifest a critical mass to commit to these shared concerns? For more information on each Biennale Fellow visit www.the8thclimate.org/en/forum_and_fellows  List of Fellows98weeks (Beirut), Al-Ma’mal Foundation (Jerusalem), Art Group 705 (Bishkek), Arts Initiative Tokyo (Tokyo), Artspace (Auckland), Artsonje Center (Seoul), Art Space Pool (Seoul), Ashkal Alwan (Beirut), Asia Art Archive (Hong Kong), Audio Visual Pavilion (Seoul), BAR Project (Barcelona), Beta-Local (San Juan), Bétonsalon – Center for Art and Research (Paris), Britto Arts Trust (Dhaka), Bulegoa (Bilbao), CAMP (Mumbai), Campus in Camps (Palestine), Careof (Milan), Casa do Povo (São Paulo), Casco – Office for Art, Design and Theory (Utrecht), CCA Glasgow (Glasgow), CCA Tallinn (Tallinn), Centre for Contemporary Art, Lagos (Lagos), Centro de Arte Dos de Mayo (Madrid), Chimurenga (Cape Town), Chto Delat (What is to be done?) (St Petersburg), Clark House Initiative (Mumbai), Community Space LITMUS (Ansan), Cooperativa Cráter Invertido (Mexico City), Council (Paris), Delfina Foundation (London), DiscLab (Manila), Di Tella (Buenos Aires), Eastside Projects (Birmingham), e-flux (New York), Forum Lenteng (Jakarta), Galerie für Zeitgenössische Kunst (Leipzig), Grizedale Arts (Cumbria), Henie Onstad Kunstsenter (Oslo), If I Can’t Dance (Amsterdam), Institute for New Connotative Action (Seattle), Institute of Modern Art (Brisbane), The Israeli Center for Digital Art (Holon), Jubilee (Brussels), Kadist (Paris/San Francisco), KHOJ (Delhi), kim? Contemporary Art Centre (Riga), Konsthall C (Stockholm), KUNCI Cultural Studies Center (Yogyakarta), Kunsthal Aarhus (Aarhus), Kunsthalle Lissabon (Lisbon), Latvian Centre for Contemporary Art (Riga), Les Laboratoires d’Aubervilliers (Paris), Lugar a Dudas (Cali), Marabouparken (Sundbyberg, Sweden), Minatomachi Art Table (Nagoya), Mite-Ugro (Gwangju), Museo Experimental el Eco (Mexico City), Mustarinda (Hyrynsalmi), National Centre for Contemporary Arts (Ural), Nile Sunset Annex (Cairo), NTU CCA Singapore (Singapore), OCAT Shenzhen (Shenzen), Office of Culture and Design (Manila), Open School East (London), P! (New York), P74 (Ljubljana, Slovenia), Pages Project/Magazine (Rotterdam/Tehran), Para Site (Hong Kong), Pathshala South Asian Media Institute (Dhaka), Portes et Passage (Joal), Pro qm (Berlin), RAW Material Company (Dakar), REDCAT (Los Angeles), Riwaq (Al Bireh, Palestine), ruangrupa (Jakarta), SA SA BASSAC (Phnom Penh), SAVVY Contemporary (Berlin), SBC Gallery of Contemporary Art (Montréal), Space Heem (Busan), SPOT Projects (Istanbul), Spring Workshop (Hong Kong), ST PAUL St Gallery (Auckland), Taipei Contemporary Art Center (Taipei), Talking Art (Seoul), Tensta konsthall (Tensta), TEOR/éTica (San José), The Bamboo Curtain Studio (Taipei), The Book Society (Seoul), The Center for Land Use Interpretation (Los Angeles), The Common Guild (Glasgow), TheCube Project Space (Taipei), The Reading Room (Bangkok), The Showroom (London), Times Museum (Guangzhou), Townhouse Gallery (Cairo), tranzit.cz (Prague), tranzit.hu (Budapest), Triangle (New York), Triple Canopy (New York), Vitamin Creative Space (Guangzhou), Western Front (Vancouver), What, How & for Whom / WHW (Zagreb), Witte de With (Rotterdam), and Work on Work (Seoul)  Curatorial Process The curatorial team went on a first site visit to Gwangju in September of 2015, together with a dozen artists with strong and relevant practices, who were invited to make new work. They were encouraged to think about local production in terms of materials, techniques, and skills rather than just making straightforward site-specific or context-sensitive work. Another dozen were invited during the winter and, together with the oeuvres, practices, and methodologies of the first group of invited artists, they indicated the direction of the exhibition, and eventually several methodological and thematic strands were noticed and developed. Subsequently, another seventy odd artists have been invited to show existing works which emphasize and complicate the various strands.  Strands Many of the art projects pertain to more than one strand, which hint at possible readings of works rather than aiming at firmly framing them. The strands include “above and below ground,” “right to opacity,” “the image people,” and “new subjectivities.” For example, siren eun young jung’s intriguing video Act of Affect (2013) is pertaining to “new subjectivities” as well as “the right to opacity,” in terms of how gender is performed beyond norms and how the condition of illegibility is necessary for certain kinds of self-determination. The video is part of her long-term research on the Korean theater tradition of gukgeuk, a type of vaudeville performance where all the roles are played by women actors, who form tightly knit communities. Gukgeuk was particularly popular during the Korean War and siren’s project highlights how the tradition is carried on from generation to generation, into the future. Commissions The artists who have been commissioned to make new work for GB11 are Ahmet Ö\u011F;üt, Amalia Pica, Ane Hjort Guttu, Annie Lai Kuen Wan, Apolonija Šušterši?, Babi Badalov, Bernd Krauß, Bik Van der Pol, Céline Condorelli, Christopher Kulendran Thomas, Claire Barclay, Cooperativa Cráter Invertido, Dale Harding, Dora García, Doug Ashford, Fernando Garcia-Dory, Gunilla Klingberg, Hu Yun, Jewyo Rhii, Julia Sarisetiati, Metahaven, Natascha Sadr Haghighian, Ruth Buchanan, Saskia Noor van Imhoff, Søren Andreasen, Tommy Støckel, Trevor Paglen, and Tyler Coburn. In addition to a production budget for the GB11 commissions, there are, for the first time in the history of the Gwangju Biennale Foundation, fees for all participating artists.  Biennale City Lounge The first floor of Gwangju International Center will operate as the city center lounge for the Gwangju Biennale during the opening week.

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