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  • 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.

  • 관련 이미지
    등록일 :[2016-09-05]

    THE EIGHTH CLIMATE (WHAT DOES ART DO?) Introduction by Maria Lind   An image showing the top part of a champagne glass filled with petrol cast against a black background catches my attention. The liquid glistens in blue, yellow, and pink, almost like the famous photos of the Earth taken from space. As one of the substances of our planet, oil is assumed to follow its physical laws, but the image says otherwise. The horizon of the oil is tilted, creating an upward slope read from the left, or a downward hill read from the right. Not only is a new geography emerging, but laws of physics different from the ones we know.   When I set eyes on this seductive image on the computer in Agnieszka Polska’s Berlin studio during my GB11 research it becomes a condensed picture of a condition, a condition in which many things are askew. Looking at Tellus from a distance—however beautiful—reveals climate change on macro levels, with the use of fossil fuels propelling the process. At the same time, it shows that the micro level of individual life as it is played out in dominant oil-dependent lifestyles across the world demands change. The champagne glasses are still prominent, and yet they are being challenged, together with our addiction to oil.   Printed on fabric and hanging high in the entrance area of the Gwangju Biennale Hall’s Gallery 1, Polska’s champagne glass points also to today’s image regime, in which images are created, circulated, proliferated, and sourced digitally and online—through the art world and far beyond. Within this regime, relevant artworks maintain an active relationship to their surrounding reality, whether associatively, analytically, critically, personally, or poetically so. To engage with such artworks, and to place art with this particular approach center stage, is one of the ambitions of The Eighth Climate: What Does Art Do?, addressing the agency of art in relation to a revitalized or accelerated understanding of its own relevance. Supplementing or augmenting traditional constructivist notions of art’s application in the sphere of life and political reality, the utility of this renewed relevance takes place in the midst of infrastructural focus in the sphere of art in many parts of the world, in the treacherous terrains of existing public and private systems.[1] Central to this interest in the performative aspect of art are its imaginative and projective qualities—art’s active relationship to the future.   The “eighth climate” refers to a state which we might reach through our imaginative perception. The notion of the eighth climate, or “the imaginal,” goes back to the 12th-century Persian mystic and philosopher Sohrevardi (1154–91),[2] and was elaborated by the 20th-century French philosopher Henri Corbin (1903–78).[3] While ancient Greek geographers identified seven physical climates of the earth, this is an additional climate which functions as an “inter-world,” between the natural and spiritual worlds. Corbin describes the eighth climate as ontologically real and existing, but beyond our ordinary way of perceiving and understanding things. Like a mirror which is not the same substance as the image which it holds. And yet, the eighth climate establishes real imaginative knowledge and function, while escaping rationalism as we know it.[4] In doing so, it reveals interesting parallels to how contemporary art is functioning.   The eighth climate might well resonate with global warming and other phenomena causing climate change, something which is reflected in many artworks of today, some of which are included in GB11. At the same time, in the context of this Biennale, the eighth climate helps us explore art’s capacity to say and do something about the future, without ending up being paralyzed by the prospects or devolving into futurology, science fiction, techno pessimism, TED-talk utopianism and other established technologies of prediction. The eighth climate evokes art as an indispensable active imagination and hence its function as a seismograph and sniffer dog, often detecting changes and other things before the rest of society, whether the artists are conscious of it or not. It highlights art as a kind of visionary knowledge and practice which can encompass prefiguration, diagnosis, and prognosis, allowing for slightly different, be it ambiguous and conflictual, perspectives on how art engages with what lies ahead of us.[5]   Whereas the modern project has been dominated by programmatic futurism, the recent decades have been marked by a reluctance, sometimes even inability, to look forward without getting stuck in history. This phenomenon has been termed “retro-topia”: the promise which the future used to hold is here firmly grounded in the past, or at least in its appearance.[6] This has been strongly felt in art with the documentary turn uncovering repressed and forgotten histories which get told anew, in the wake of among other things radical changes in historiography, and a crisis of journalism and media, which used to be the bearers of witness reports. At the same time, a lot of current work involving abstraction is more engaged with what will come than what has been, in the “not yet” as it is being articulated. A certain compensatory drive fuels both tendencies, which are equally sensitive to the given conditions in the world. It is worth noting that today prospecting tends to involve revisiting and reformulating foundational ideas of emancipation of the old enlightenment, for example subjectivity, property, and transparency, which emerge in fundamentally different forms than before.[7] One of the features is constant cultivation rather than confidence in the idea of completing a project.   While being art-centric, with an emphasis on art’s imaginative capacity, its connection with the future in the midst of daily life and struggles for survival in the present, the curatorial process and resulting structure of GB11 have extended in time and space. Rather than aiming at a thematic exhibition relying on existing artworks, taking place under one roof over two months, GB11 is a constellation of many parts happening over one year. Thinking thoroughly about what art does—without necessarily implying a utilitarian approach—how it lands in different contexts, and how it sits in society and creates ripples on the water, GB11 comprises Monthly Gatherings, or Wol-rae-hoe, in Gwangju,[8] an Infra-School in Gwangju, Seoul and beyond,[9] around a hundred national and international Biennale fellows,[10] a Forum, two publications, a blog and an exhibition which stretches from the Gwangju Biennale building to other venues and places in the city and online. Twenty-eight commissions form part of this. Other concerns of this edition of the Biennale are the mediation of art, its embeddedness in various contexts and the potential of connecting dots between already existing activities and people near and afar.[11]   A large-scale event of contemporary art with international, national, and local ambitions, the Gwangju Biennale is part and parcel of all three levels, while being closely connected to the municipality. The Biennale was founded in 1995, to both market the city as a cultural hub, which is an essential aspect of its history, and as a living memorial to an uprising in 1980, called the May 18 Democratic Uprising.[12] When Gwangju citizens rose up against paratroopers sent in by the military dictator to clamp down on students protesting against martial law on 18 May 1980, many civilians were brutally killed in broad daylight. Surprisingly enough, the citizens of Gwangju managed to push back the paratroopers and held the city for eight days, self-organizing to keep up, for instance, municipal functions, before the military took over again, with much bloodshed. Sometimes compared to the 1871 Paris Commune, the 5.18 Uprising is considered a crucial moment for the democratization movement in Korea, and has profoundly marked the spirit and image of the city.[13]   The Gwangju Biennale’s original legacy of being particularly connected to the city became a determining factor for GB11, making it especially interesting to try and establish contact and conflict zones based on shared concerns between artworks and the inhabitants of Gwangju, taking art as a starting point.[14] Researcher and activist George Katsiaficas’s notion of “the Eros effect,” describing the generative energies created by and in moments of collective commitment and revolt with the 5.18 Uprising as a prime example, resonated interestingly with events in different parts of the world which have marked this decade and engaged many artists and other cultural practitioners: the Arab Spring, the Occupy movement, the Umbrella Movement, Los Communes etc.[15] Mediation turned into a keyword while working in this left-leaning and comparatively low-income “city of light” with 1.5 million inhabitants, the sixth largest in the country, who historically have been working in food production and the car industry. Experiencing South Korea as an essentially divided patriarchal country, split between progressive tendencies and conservative forces, full of authoritarianism and curiosity as well as insularity and self-censorship, contemporary art appeared to me—more than usual—to offer the potential of suggesting “otherwise.”[16]   Since the founding of the Biennale in 1995, art, curating, biennales, the city of Gwangju, and the country itself have all gone through major transformations, creating new opportunities and challenges. At the same time as the Gwangju Biennale has become renowned internationally, frequently mentioned as the most important event for contemporary art in Asia, it quickly became clear to the curatorial team that the Gwangju Biennale Foundation has developed a more removed and complex, partly complicated, relationship with the city itself, including its artistic scene. Addressing “the imaginal” in this situation has meant living a paradox: different desiring machines have to interact and sometimes they clash, and the imagined is easily stalled under the formalized circumstances of the given framework. Another determining factor for the making of GB11 was the relatively short timeframe for preparation—less than a year. Then there were my own ongoing interests in what art does, in its function as a sensor and form of understanding, in mediation, and in the under-recognized value of small- and medium-size visual arts organizations as artistic, curatorial, organizational, and social incubators and their relationship to big players like the Gwangju Biennale.   It certainly matters with whom you are working: in addition to the hardworking staff of the Gwangju Biennale Foundation, including interns, I was fortunate enough to be able to put together a team with the curator Binna Choi and assistant curators Azar Mahmoudian, Margarida Mendes, and Michelle Wong. We had the opportunity to make some research while traveling, although that process was more patchy than systematic, and we spent considerable amounts of time in Gwangju between September 2015 and the opening on 2 September 2016.[17] We have gotten to know people and have established truly enriching collaborations with them—most significantly with the art collective Mite-Ugro, who function as our local curatorial associates. Other important local connections are the art department of the Chosun University, the Gwangju International Center, the 5.18 Archives and, not to forget, the bars Foreplay, Truffaut, and McGuffin.   Since September 2015, we have invited twenty-five artists to Gwangju to make new work and work towards embedding this edition of the Biennale on site, taking into consideration local materials, techniques, and skills, to be presented inside as well as outside the Gwangju Biennale Foundation’s exhibition space.[18] We did not expect “site-specific” or even “context-sensitive” work—if the artists wanted to do that, it was fine, but it was not our aim. As part of this process, a handful of artists have been doing mini-residencies in Gwangju, benefiting from the infrastructural side of, for example, Asia Culture Center.[19] Also, for the first time in its history, the Gwangju Biennale Foundation has devised fees for the participating artists.[20] The selection of artists is based on the criterion of choosing practices that we find relevant and strong today. The entire curatorial team proposed artists and as the artistic director I made the final decision. Some artists, like Hu Yun, Cooperativa Cráter Invertido and Dora García, then ended up directly referencing Gwangju by making context-sensitive work, like addressing the 5.18 Uprising.   García’s Nokdu bookstore for the living and the dead, for example, serves as a continuous inquiry into political resilience and the production of subjectivity, taking as its starting point the legendary bookshop which was a meeting point for numerous contributors to the democratization movement. A spatial facsimile of the original bookshop installed in Gallery 1, García’s version is transporting, exploring, and reshaping a historical activity, bringing it not only to our time but to the future as well. Offering among other things poster-printing workshops, presentations on Nokdu’s Night School on activist tactics in the period leading up to the 5.18 Uprising, and presentations by the founder of the original bookshop, García has conceived the new bookshop as a functional fiction. It is a full-scale time machine which propels both backwards and forwards, which is also actually selling books, thanks to a collaboration with Seoul bookshop and publisher The Book Society.   The oeuvres, practices, and methodologies of the first group of invited artists 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 work, which emphasize and complicate the various strands.[21] Many of the art projects in GB11 pertain to more than one strand, which hint at possible readings of works rather than aiming at firmly framing them. The strands are not illustrations but threads which operate within this curatorial direction, and include “above and below ground,” which addresses struggles over land and natural resources. Artists such as Apolonija Šušterši? with Dari Bae, Fernando Garcia-Dory, Inseon Park, Joungmin Yi, Nazgol Ansarinia, and Christopher Kulendran Thomas engage with gentrification and housing, while Dale Harding’s concerns are directly to do with land rights and the faculties of the Earth. The latter also applies to Gunilla Klingberg’s work, as well as that of Nicholas Mangan.[22] Marie Kølbæk Iversen, Hajra Waheed, Elena Damiani, Natascha Sadr Haghighian, Munem Wasif, The Otolith Group, Otobong Nkanga, Yu Ji, and Zhou Tao’s works relate to natural forces and resources below the ground. Nature above ground features in the evocative work of Ingela Ihrman and Seola Kim.   “The labor point of view” is evincing the persistent engagement of artists with changing conditions of work, their effects on daily life and DIY techniques, like in the case of Jeamin Cha, Jasmina Metwaly & Philip Rizk, Michael Beutler, Ane Hjort Guttu with Daisuke Kosugi, Li Jinghu, Bona Park, Barbora Kleinhamplová with Tereza Stejskalová, Goldin+Senneby, and Julia Sarisetiati.[23] “Between molecules and cosmos,” or how the most minute elements have wide-ranging effects, is elaborated in the work of Alma Heikkilä, Ane Graff, Anicka Yi, Anton Vidokle, Arseny Zhilyaev, Katie Paterson, Guillermo Faivovich & Nicholas Goldberg, and Pratchaya Phinthong. [24] It involves close-up photographs of samples of burning gas hydrate, a possible replacement of oil, smells from outer space as produced from a candle, peculiar mineralization process on fabric, and strikingly beautiful photographic dissections of a meteorite.   How the European Enlightenment tradition is continuously challenged by both a contemporary pharmacopornographic paradigm and new models of performativity is central to “new subjectivities,” with examples by siren eun young jung, Emily Roysdon, Pauline Boudry / Renate Lorenz, Babi Badalov, Tyler Coburn, Lili Reynaud Dewar, and Osías Yanov.[25] Here subjectivity appears as one of several foundational concepts, together with for example property and transparency, which today demand radical—embodied—reformulation. In the spirit of Beatriz Preciado’s groundbreaking book Testo Junkie, which not only theorizes such reformulations but also performs them, the pieces in question tend to implicate concrete enactments.[26]   Among the strongest tendencies in art today is abstraction in its formal, economic, and social capacities, here termed “the right to opacity,” referencing Martiniquan philosopher Édouard Glissant (1928–2011) and his call for the right to remain illegible, based on colonized people’s constant subjection to transparency while being measured and assessed.[27] Strategies of abstraction can produce artistic and other kinds of space to maneuver, with which the work by Doug Ashford, Adam Pendleton, Ade Darmawan, Amalia Pica, Claire Barclay, David Maljkovic, Iza Tarasewicz, José León Cerrillo, Monir Shahroudy Farmanfarmaian, Fahd Burki, Mika Tajima, Philippe Parreno, Rana Begum, Saskia Noor van Imhoff, Suki Seokyeong Kang, Walid Raad, and Ayesha Sultana resonates interestingly.[28] In this way, social abstraction concerns withdrawal (abstrahere in Latin means to withdraw), from the mainstream and its increasing lack of self-determination for complexifying practices.   “The image people” is about a renewed focus on signification processes in and through images, deeply informed by new technologies, like in the work by Trevor Paglen, Aimée Zito Lema, Andrew Norman Wilson, Diogo Evangelista, Nadia Belerique, Hito Steyerl, Tromarama, Mariana Silva, Agnieszka Polska, Mohammad Salemy, Azar Alsharif, and Søren Andreasen, and Tommy Støckel.[29] Within the wide range of their practices there are many echoes of ’80s discussions on the representation of politics versus the politics of representation. And finally “defiance,” when artists are challenging the powers that be, up front, for example Adelita Husni-Bey, Ahmet Ö\u011F;üt, Collectiva Crater Invertido, Flo Kasearu, Lawrence Abu Hamdan, Matias Faldbakken, and Sachiko Kazama.[30] Yet some others are “free-floating,” like Annie Lai Kuen Wan, Bernd Krauß, and Jewyo Rhii with Jihyun Jung, insisting on orbiting GB11 on their own, and Ann Lislegaard, Bik van der Pol, Christian Nyampeta, Raqs Media Collective, Sojung Jun, Tania Pérez Córdova, and Nabuqi, who in this context set up their own spheres. Some artists engage with the infrastructure of the Biennale, among them are Céline Condorelli, Ruth Buchanan, and Metahaven.   Somewhere in the middle of this curatorial process the title—The Eighth Climate: What Does Art Do?—came about: it is not a “theme” or a “concept,” but rather indicates a set of parameters. It is about placing art center stage, art’s capacity to always say something about the future, connect dots over small and big distances, embeddedness in particular situations, and mediation.[31] 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 forgotten nor a guiding light. In that sense, I think of GB11 as a temperature check of art today, filtered through the interests, experiences, and competences of the curatorial team, and shaped by the given conditions. They include having lived and worked in different geographical and cultural contexts such as Hong Kong, Tehran, Seoul, Lisbon, Lodz, Utrecht, New York, London, and Stockholm, initiating and working in organizations and institutions of varying scales, and bridging curating, research, mediation, education, writing, and organizing.   In the galleries, different “atmospheres,” or climates, have been created through, for instance, density, sparsity, or darkness, attempts at choreographing the space of experience in such a way that individual artworks can shine at the same time as the constellation of works create synergy effects.[32] The idea of a dynamic experience of artworks, with multiple spatial viewpoints and options of movements rather than one unambiguous trajectory, has been important, allowing for both confrontation and contemplation.[33] This choreography tends to underline the collective experience at the expense of isolated artworks aimed at individual consumption, like in Gallery 1 which is offering a rich mix of materials, modalities, and subject matter, becoming rather kaleidoscopic. One gallery in the Biennale Hall, purpose-built for the biennale in 1995 in the Buk-gu residential neighborhood and next to a park, corresponds to a particular strand—abstraction as in “the right to opacity” in Gallery 4—and elsewhere the strands are mixed. This is the case with Gallery 3, where each artwork creates its own “zone,” leaving the walls untouched. The dark Gallery 2 is assembling a number of works containing light: video and slide projections, flat screens, and sculptural installations. They are displayed without separating walls. Another gallery is devoted to a single composite installation with sculptures and sequenced video projections, by Pauline Boudry / Renate Lorenz.   In the ramps leading to and from the galleries, Prajakta Potnis has crafted subtle cracks and seams on the walls, Dale Harding is grafting the oldest painting technique in the world for future use, and Babi Badalov creates a vibrant collage of migrant languages and images. One of the ramp landings features Adam Pendleton’s vinyl wallpaper with deconstructed language resonating with the current rallying cries of the activist Black Lives Matter movement in the US. Works are also shown in three private museums near the Mudeungsan mountain on the outskirts of the city, namely Bernd Krauß at the Mudeung Museum of Contemporary Art, Gunilla Klingberg at Uijae Museum of Korean Art, and Saskia Noor van Imhoff at the Woo Jaeghil Art Museum. Krauß stretches out a long tentacle across Gwangju to the Biennale Hall where a shelf on wheels moves around Gallery 1 with elements tied to his museum show.   Other venues are the 5.18 Archive, the Asia Culture Center, and elsewhere where the artists have chosen to work. The former holds a small “group exhibition within the exhibition” curated by Binna Choi, and Christopher Kulendran Thomas is showing a new installation at the Asia Culture Center. Apolonija Šušterši?, Fernando Garcia-Dory, Michael Beutler, and Natascha Sadr Haghighian have found their own locations in various parts of Gwangju. Metahaven have been commissioned to make an online film and a mural connected to the film on the façade of the Biennale Hall. In addition, Eyal Weizman’s 2013 folly, entitled The Roundabout Revolution, has simply been incorporated into GB11. Yet another space is the publication which you are reading, one of two, the first of which presents among other things texts on each artwork, self-presentations by the artists and fellows, and Q&As with artists and curators. The second publication will reflect the significance of the Biennale fellows and the Forum, and document GB11 as a whole. Both are designed by Metahaven, who also devised the blog the8thclimate.org, which will be actively used by the participants of this year’s Gwangju Biennale International Curating Course.[34]   A two-day Forum is organized for 2–4 September at which the Biennale fellows, other 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. A handful of lectures with, among others, the author of the outstanding 2007 novel The Vegetarian, Han Kang, and gallerist and poet Hu Fang, are part of the Forum, as well as workshops in smaller groups, taking into account the complexity of an art ecosystem where art plays into social fabrics, and seeks agile modes of coexistence within such a system. A central concern is if and how meaningful relationships can be created between large structures, for example the Gwangju Biennale, and such small- and medium-scale “differential” organizations. Each of them is stimulating generative artistic, curatorial, and educational experimentation while often engaging with their immediate surroundings.   In fact, the Biennale fellows produce what researcher Sarah Thelwall has termed “deferred value”: they are never “paid back” for their investing in risk-filled new works and methods. Instead, these works and methods are eventually—often ten to fifteen years later—picked up by the mainstream, whether the commercial art market or the non-profit sector, which then can reap the fruits, gain the profit so to speak, in the form of, for instance, media attention, large visitor numbers, donations, and sponsorship.[35] The Biennale fellows have been appointed such based on this kind of invaluable contribution which they are making “at home,” there and then, without the Biennale interfering or in other ways affecting their program or day to day activities. Many of the Biennale fellows function as runways: they are places where things take off and other things land, unique translational spaces where people, activities, and issues which usually don’t cross paths actually intersect and share time and space.[36] In light of the relative imaginative poverty of most mainstream institutions, these kinds of organizations are not only working on a concrete futurity without directly benefiting from it themselves, they are also uniquely structurally placed to do so.[37] The purpose of appointing the Biennale fellows is rather to highlight them at the same time, so as to make a certain critical mass visible, and offer an opportunity to come together, and if desired, to mobilize.[38]   Drawing to an end, we should be reminded that there is only ever so much that an introductory text like the one you are reading now can do. I am writing this in July 2016, in a small wooden cottage built by my grandparents in the ’60s on an island in the archipelago of Stockholm, with the Biennale exhibition still ahead of me. The most vital thing is to experience GB11, to take part in the Monthly Gatherings, the Infra-School sessions, and various other mediation activities. To encounter the artworks in the Biennale Hall and beyond, navigate the spaces, and engage with constellations of works. For those of you far from Korea, a peek at the8thclimate.org can give you a hint at what is actually going on. You are also perfectly placed to view Metahaven’s film commission Information Skies, only available online. Some of the GB11 commissions will ultimately be shown in other contexts, in different places across the world, as will the existing works. As it goes, contemporary artworks and the people surrounding them habitually move around, travelling across great distances, turning up and functioning as tokens in a complex web of exchange. A literal network which is a latent source of parallel mustering in a world which, only shortly from now, most likely will look very different from this moment.   The Gwangju Biennale is an amplifier, with time achieving the status of “a major” in the sense of philosophers Gilles Deleuze (1925–95) and Félix Guattari’s (1930–92) comparison to a “minor literature.”[39] It can make a difference, on various levels, thanks to this status. Having access to the resources and infrastructure of such a major is exceptional for me, it is a pleasure and a privilege, and it immediately propelled me to consider what it would mean to try and “become minor,” to seek to work from within a major in order to deterritorialize, consider each artwork as being directly connected to political immediacy and to mobilize some of it, collectively.[40] To affirm “something else,” something which is not easy to interpret, which is often ambiguous and offers a certain measure of experimentation rather than interpretation, codification, and representation. This is how I think of Joungmin Yi’s painting series Walking-Form: bluish-greenish canvases of varying size with broad brushstrokes mostly showing details of objects and scenes which might be encountered during a walk in a major Korean city. Stones on a smooth surface, a wall which is about to be taken apart, a gnarly tree, two people on a bench. Others are hard to recognize. Landing somewhere between figuration and abstraction, the jun-beop brushstrokes of Oriental painting which she is using aim at conveying an essence rather than appearance, being part of her “mind-walking” that tends to make her challenge her own conventions, as well as the ones of the viewer.   [1] The infrastructure supporting art and its institutions, the conditions of production, have played a major role in open and closed discussions on art since the late 90s. The reasons are clear: a paradigm shift has affected art and its existence in most parts of the world, most significantly the tremendous boom of the commercial art market and the subsequent effects on public institutions and their funding. Where there is a non-profit sector, budget cuts and strict instrumentalization abound with strings attached, threatening the very existence of many visual arts organizations. See for example Maria Lind and Raimund Minichbauer, eds: European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding in Europe, (2005 Iaspis) and eipcp, http://eipcp.net/publications/ecp2015 for a discussion on the situation in Europe, and Maria Lind and Olav Velthuis, eds: Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios (2012) for a more general take on the expansion of the commercial art market, with an essay by Alain Qemin on regionalization, including Asia.   [2] See for example Mehdi Amin Razavi,’s Suhrawardi and the School of Illumination (Richmond: Curzon Press, 1997).  Suhrawardi’s Sohrevardi’s contribution is here described as a synthesis of the rationalist school of thought of the peripatetics, the intellectual intuition of the illuminationsts, and finally the ascetic innter journey of the Sufis into a unified philosophical paradigm.   [3] Artist Walid Raad alerted me to this text. For a Q&A with Henri Corbin scholar Anoush Ganjipour on the eighth climate, see p. 172.   [4] The eighth climate is also known as mundus imaginalis in Latin (the imaginal world). See Henri Corbin,: “Mundus Imaginalis” (Brussels, 1964), http://hermetic.com/moorish/mundus-imaginalis.html. [5] Among the resonance boards for the thinking and acting around GB11 are Keller Easterling,: Extrastatecraft: The Power of Infrastructure Space (New York: Verso, 2014); Michel Serres,: Parasite (Baltimore: Johns Hopkins University Press,1982); Mark Fisher,: Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (Zero Books 2014), Franco Bifo Berardio Bifo,: After the Future (Chico: AK Press, 2011); McKkenzie Wark,: Molecular Red: A Theory of the Anthropocene (New York: Verso 2015); Timothy Morton,: Hypero Objects: Philosophy and Ecology After the End of the World (Minneapolis: University of Minnesota Press, 2013); Frederic Jameson, Archaelogies of the Future: The Desire Called Utopia and Other Fictions (New York: Verso, 2005); Karen Barad, Meeting the Universe Halfway (Durham: Duke University Press, 2007); Stefano Harney & Fred Moten, The Undercommons: Fugitive Planning and Black Study (New York: Autonomedia, 2013).   [6] Boris Buden has discussed this phenomenon in several texts, for example Zone des Übergangs. Vom Ende des Postkommunismus, (Berlin: Suhrkamp Verlag, 2009).   [7] See for example Future Light, which I curated in Vienna in 2015 as part of the first Vienna Biennial on the invitation of the Museum Angewandte Kunst, where some of these ideas were explored in a group exhibition, a solo presentation and three commissions, as well as an online reader, futurelight.space. The essays by Clare Birchall, Boris Buden, Reza Negarestani, Brian Kuan Wood and Natascha Sadr Haghighian are specially pertinent in this context. See also Future Light, exhibition brochure, MAK 2015.   [8] Monthly 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 work places. 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 Daein Market is the main venue for the events, and the participants will be 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 contacts and formal as well as informal exchanges and conversations. The activities of Monthly Gathering include 'The Mite-Ugro Art Book Collection', “Group Readings”, “Artists Screenings”, “The Art Work in Focus”, and “Curated Walks.” See p. 48. [9] The 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 or jointly organizing conferences, colloquia and fora. Instead of establishing a new independent educational set-up, the Infra-School taps into resources that are already there and intends to multiply connections and expand relations. In doing so, it aims at embedding the GB11 in the local, regional, and national eco-system of art, whereby the mutual benefits and inter-dependence between different entities become strengthened. Among the Infra-School associates are Chosun University, Gwangju; Chonnam University, Gwangju; Dongduk Women’s University, Seoul; The Gwangju International Center; Hongik University, Seoul; RAT School of ARTArt, Seoul; The New Center, New York and online; Seoul National University—Asia Centre, Seoul; the Dongduk Women's University, Seoul and the Inter-Asia Biennale Forum. See p. 30-32.   [10] In order to highlight and discuss a seminal part of the contemporary art sector, GB11 has declared around 100 a hundred small- and medium- scale art organizations across the world, which share concerns and affinities with its curators and artists, as “Biennale fellows” for the duration of exhibition period. Among the Biennale fellows are Times Museum (Guangzhou), ruangrupa (Jakarta), Clark House Initiative (Mumbai), Triangle (New York), How & for Whom/WHW (Zagreb), and The Showroom (London). Such organizations often function as the research and development department of the art world, generating new ideas, giving opportunities to emerging artists, and shaping new curatorial and educational methods. They are organizations which “make a difference” in relation to dominant mainstream developments, and yet their work tends to be under the radar of both the mainstream art scene and the media. Being a Biennale fellow means going on doing the great work they normally do, without GB11 being involved in the activities. See p. 31 and p.185-196.   [11] Maria Lind, “Why Mediate Art?” (2011) in Mousse Magazine #28.   [12] See George Katsiaficas's essay 'The Eros Effect' (American Sociological Association National Meetings in San Francisco, 1989) and his book Asia's Unknown Uprisings Volume 1: South Korean Social Movements in the 20th Century (Oakland: PM Press, 2012) for more on May 18 Democratic Uprising.   [13] See for example Choi Jungwoon,: The Gwangju Uprising: The Pivotal Democratic Movement That Changed the History of Modern Korea (New Jersey: Homa and Sekey Press, 2005) and George Katsiaficas,: Asia’’s Unknown Uprisings Volume 1: South Korean Social Movements in the 20th 0th Century (Oakland, PM Press 2012).   [14] The notion of “contact zone” is borrowed from anthropologist Mary Louise Pratt’’s 1991 paper “Arts of the Contact Zone”, in Professions. She describes contact zones as “social spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power.” James Clifford develops the notion in relation to museums in Routes: Travel and Translation in the Late Twentieth Century (Cambridge: Harvard University Press,1997). Nora Sternfeld is elaborating on conflict zones in “Memorial Sites as Contact Zones: Cultures of Memory in a Shared/Divided Present” (www.eipcp.net, 2011). The approach of GB11 is informed by the practice of Tensta konsthall, developed with the team there since I started in 2011, as well as that of the members of Cluster, a network for small-scale visual arts organizations in suburban residential areas, primarily in Europe, http://www.clusternetwork.eu.   [15] George Katsiaficas, The Eros Effect (American Sociological Association National Meetings in San Francisco, 1989).   [16] Kuan-Hhsing Chen’s concept of “critical syncretism” is interesting in this context, suggesting that decolonization movements in Asia should avoid both identification with the colonizer and the narcissistic tendencies of nativist movements. The purpose is to “generate a system of multiple reference points that can break away from the self-reproducing neocolonial framework that structures the trajectories and flows of desire.” Asia as Method: Toward Deimperialization (p.101. Durham: Duke University Press, 2010).   [17] In addition to spending a considerable amount of time in Gwangju, the curatorial team conducted research in Seoul, Istanbul, Riga, Prague, Milan, Moscow, Yekaterinburg, Sydney, Brisbane, New York, Beirut, Helsinki, Tallinn, Zagreb, Copenhagen, Oslo, Paris, Lyon, Vienna, Brussels, Antwerp, Dakar, London, Warsaw, Jakarta, Dhaka, Stockholm, Malmö, Hong Kong, Beijing, Shanghai, Guangzhou, Tokyo, Mumbai, Amsterdam, Rotterdam, Utrecht, Eindhoven, Berlin, Tehran, Mexico City, Buenos Aires, and Singapore.   [18] Cooperativa Cráter Invertido and Babi Badalov have been commissioned to make new work but did not travel to Gwangju prior to making the work.   [19] See for example Maria Lind “On the Curatorial” in Selected Maria Lind Writing (Berlin: Sternberg Press, 2010).   [20] It is a symbolic rather than substantial fee: $500 US dollars for existing work and$2,000 US dollars for commissions.   [21] It was a requirement of the Gwangju Biennale Foundation that a minimum of two Gwangju-based artists, out of twelve pre-selected by a local jury, should be invited to GB11. Therefore, in July 2016 Sul Park and Yongshul Kim from the Portfolio Review Program were included in GB11. [22] For a Q&A with artists and curators on “Above and Below Ground” see p. 158-160.   [23] For a Q&A with artists and curators on “The Labor Point of View,” see p. 167-171.   [24] For a Q&A with artists and curators on “Between Molecules Cosmos” see p. 177-179.   [25] For a Q&A with artists and curators on “New Subjectivities” see p. 175-176.   [26] Beatriz Preciado: Testo Junkie: Sex, Drugs and Biopolitics in the Pharmacopornographic Era (New York: City University of New York, 2013).   [27] Édouard Glissant: One World in Relation (Film, 50 minutes, directed by Manthia Diawara, 2010). [28] For a Q&A with artists and curators on “The Right to Opacity New Subectivities,” see p. 164.   [29] For a Q&A with artists and curators on “the image people,” see Publication I p. 164.   [30] For a Q&A with artists and curators on “The Right to Opacity New Subectivities,” see p. 164.   [31] See p. 26 for a discussion on mediation. These four core points were part of the 300-word proposal, which I was invited to submit to the Gwangju Biennale Foundation at the beginning of June 2015. There were ten days to formulate a proposal.   [32] This is an approach to exhibition-making which I have often employed since 1997, including the group exhibition Clean & Sane at Edsviks Kkonsthall, Stockholm, with varying results, and most recently at Vienna’’s Museum Angewandte Kunst in 2015 with the group exhibition Escaping Transparency as part of the overall project Future Light. Inspiration has been drawn from for instance the 1990s collaborative exhibitions of Dominique Gonzalez-Foerster, Pierre Huyghe, and Philippe Parreno, as well as later learning about the curatorial work from the same period of Renate Lorenz and Ursula Biemann at the Shedhalle in Zürich Zurich, and Group Material’s exhibitions in the US and elsewhere. In Charlotte Klonk’s Spaces of Experience: Art Gallery Interiors from 1800 to 2000 (New Haven: Yale University Press, 2009), there are correspondences with the “collectivist spectatorship” model developed in and through display and general choreography of exhibition spaces by some of the Constructivist artists of the early 20th century.   [33] All text-based works, including videos, have Korean and English translations. [34] Started in 2009, the 2016 GBICC has twenty participants and is co-taught by Joanna Warsza and myself.   [35] Sarah Thelwall, “Size Matters: Notes Towards A Better Understanding of the Value, Operation and Potential of Small-Scale Visual Arts Organizations” (Common Practice, 2011).   [36] Mikael Löfgren, “No Exceptions: On Value Creation in Small and Mid-Sized Galleries of Contemporary Art” (Klister, 2014), originally published in 2014 in Swedish. http://marabouparken.se/wp-content/uploads/2015/12/No-exceptions-en-translation.pdf   [37] Binna Choi, Maria Lind, Emily Pethick, Natasa Petresin BachelezNataša Petrešin-Bachelez, ed., Cluster: A Dialectionary (Berlin: Sternberg Press, 2014). See especially the essay by Andrea Phillips.   [38] During the last few years a number of institutional networks have been established, one of the reasons being the need for mutual support structures and the sharing of knowledge and experience. Among them are L’’iInternationale (http://www.internationaleonline.org), Arts Collaboratory, (http://www.artscollaboratory.org) and Cluster (see note 14). [39] Gilles Deleuze and& Félix Felix Guattari, “What Is A Minor Literature?,” from Mississippi Review, Vol. 11, No. 3, Essays Literary Criticism (Winter/Spring, 1983), pp. 13-33. The essay was originally published in 1975   [40] Deleuze and Guattari use the writing of Franz Kafka to discuss ““minor literature”, i. e. how Kafka as a German-speaking Jew in Prague is an example of how language is deterritorialized ““for strange and minor uses”, how in this situation the individual is directly connected to political immediacy and how collective values are produced.

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    등록일 :[2016-08-27]

    Image caption: Image by Metahaven, participants in the 11th Gwangju Biennale.   What Does Art Do? Opening week of the 11th Gwangju Biennale   “The Eighth Climate (What Does Art Do?)” The 11th Gwangju Biennale 2 September–6 November 2016 Exhibition Preview: 31 August–1 September 2016 Professional Opening: 1 September 2016, 18:00 Forum: To All the Contributing Factors: September 2–4, 2016   www.the8thclimate.org   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 center stage, 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.   GB11 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 it lands in different contexts, and how it sits in society and creates 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, a blog, and 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.   The opening week is a moment to celebrate this ongoing process of conjunction, convergence, and multiplicity 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. The commissions include Dora García’s reconstruction of the Nokdu bookstore that played a crucial role in the 18 May 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 local 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. Most of these contributing artists will give personal introductions to their own works beside the curatorial team’s own introduction to the Biennale.   On 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. A handful of lectures by 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 will be shared on the first day of the Forum, which 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 participating artist Mohammad Salemy also moderates a session.   More information, including the list of contributing artists and fellows, is available at the Metahaven-designed blog www.the8thclimate.org. You are very welcome to join us!   —From the curatorial team: Maria Lind, artistic director, Binna Choi, curator, Azar Mahmoudian, Margarida Mendes, and Michelle Wong, assistant curators.   Gwangju Biennale 111 Biennale-ro, Buk-gu 500-845 Gwangju Republic of Korea +82 62 608 4114 biennale@gwangjubiennale.org www.gwangjubiennale.org www.facebook.com/GwangjuBiennale

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