Madang: Where We Become Us
Exhibition Dates: April 18 - November 24, 2024
Opening: Thursday, April 18 11:00 am
In commemoration of the Gwangju Biennale’s 30th anniversary, the Gwangju Biennale Foundation presents the Collateral Event at the 60th International Art Exhibition of La Biennale di Venezia Madang: Where We Become Us, a special archival exhibition set to take place at the Il Giardino Bianco Art Space in Venice, Italy, from April 18 to November 24, spanning a total period of 221 days.
Unfolding across three distinct sections, the exhibition reflects on three decades of the Gwangju Biennale’s history while envisioning a future of sustainable human communities. Madang: Where We Become Us aspires to be a powerful platform for the Gwangju Biennale, to engage deeply with the international community, and to foster shared understanding and empathy around the Biennale’s foundational values of democracy, human rights, and peace.
Gwangju Biennale: Celebrating 30 years as a global cultural madang
Since the establishment of the Gwangju Biennale in 1994, the Gwangju Biennale has evolved into Asia’s leading contemporary art biennale, integrating artistic expression with the “Gwangju Spirit,” which encompasses the principles of revolution, democracy, and community.
The Korean word madang contained within the exhibition title, translates to “main court-yard” in English. In traditional Korean residences, the madang served as a communal area where residents convened for discussions and celebrations. Mirroring this concept, over the past three decades the Gwangju Biennale has become a dynamic forum for global societal discourse in the form of visual arts, sparking a wide spectrum of conversations and ideas. In the spirit of the traditional madang, where neighbors shared stories and addressed vital community matters, the Gwangju Biennale has broadened its scope beyond Western-centric art narratives to encompass themes from developing nations and celebrate cultural diversity. The Biennale has tackled global issues such as climate change, race, gender, and democracy, striving to reshape the future of humanity from a planetary perspective and crossing geographical boundaries.
The Collateral Event Madang: Where We Become Us showcases archival materials and collections that not only carry historical significance but also symbolize the Gwangju Biennale’s enduring commitment to diversity and inclusivity. This representation of madang highlights the transformative power and possibilities inherent in art. Extending beyond a chronological recounting of the Gwangju Biennale’s history, the curatorial vision of the exhibition aims to reaffirm the Biennale’s contemporary relevance by delving into the essence of the “Gwangju Spirit.”
Gwangju Biennale’s chronology, collections, and archives: A three-section exhibition
Madang: Where We Become Us unfolds across three distinct sections. The first section offers a panoramic view of the Gwangju Biennale’s chronology that encapsulates its history and spotlights key developments. Featured here are posters from previous exhibitions displayed alongside information about the artistic directors, curatorial teams, and exhibition themes; a list of participating artists; and maps of Gwangju Metropolitan City indicating exhibition locations. These components collectively narrate the story of the Gwangju through fourteen madangs, each madang representing a previous edition. In addition, the documentary Gwangju Biennale, 30 Years of Perspective utilizes an interview format to explore the Biennale’s legacy and its prospective paths.
The second section exhibits select pieces from the Gwangju Biennale’s collection, augmented by the works of three Korean women artists, offering expanded interpretations. Highlights include Nam June Paik’s Dolmen (1995) and Kcho(Alexis Leyva Machado)’s To Forget (Para Olvidar) (1995); both works debuted at the inaugural Gwangju Biennale and embody its enduring values and themes. Paik’s Dolmen is an assemblage of television sets, stacked to resemble dolmen megaliths, and Korean traditional objects like jangdok (earthenware jars for sauces and condiments). It stands as a tribute to sacrifices made by the Gwangju community during the May 18 Gwangju Democratization Movement. Kcho’s To Forget metaphorically narrates the plight of Cuban boat refugees, incorporating rafts, tires, and old boats to visually represent the harrowing exodus and precarious life of the boat people. These evocative pieces, alongside other artworks, interact to underscore the Gwangju Biennale’s community-centric theme.
Additionally, the section features works by Sylbee Kim, Ayoung Kim, and Sojung Jun, three female artists previously involved with the Gwangju Biennale. Their contributions carry forward but also reimagine the sentiments articulated by the two previously mentioned artworks.
Also displayed is Tin pot, an artifact from the May 18 Archives, symbolizing the Gwangju spirit. This pot, which symbolizes the Gwangju community, was used by Gwangju mothers to distribute rice balls to the citizen force during the May 18 Gwangju Democratization Movement.
The third section unveils a curated selection from the Gwangju Biennale’s tangible collection and digital archives. Visitors will have the opportunity to observe historical materials in person, ranging from exhibition posters, tickets, and leaflets to VHS tapes, CDs, exhibition floor plans, and digitized collections.
Park Yang-woo, President of the Gwangju Biennale Foundation, stated: “For 30 years, the Gwangju Biennale has been a beacon of diversity and complexity. Having grown from a local city event to an influential phenomenon encompassing Korea, Asia, and the global community, it aims to continuously introduce innovative themes that enrich discourse around human civilization. The 30th-anniversary special archival exhibition in Venice, coinciding with Biennale Arte 2024, will allow us to revisit our founding ethos and foster a madang where the global community can connect, empathize, and experience the societal impact of art.” |
