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Annual Report : A Year in Exhibitions
The 7th Gwangju Biennale
Source: The 7th Gwangju Biennale Website
Please click here: Gwangju Biennale
Duration: September 5 - November 9, 2008
Opening: September 5, 2008
Artistic Director: Okwui Enwezor
Co-Curators: Hyunjin Kim, Ranjit Hoskote
Position Papers Curators: Patrick D. Flores, Jang Un Kim, Abdellah Karroum, Sung-Hyen Park, Claire Tancons
Venues:
Biennale Hall, Gwangju Museum of Art, Uijae Museum of Korean Art,
Daein Traditional Market, Cinema Gwangju
Programs
Global Institute
Plenary Sessions
About Gwangju Biennale
The challenge of establishing a major international biennial exhibition in Gwangju coincided with the rising impact of globalization at the end of the 20th century and the prosperity that has profoundly redefined Asia’s economic and political role at a global level. Propelled by technology, modernization, and the rapidly expanding role of economic and cultural networks in the global system, the so-called Asian economic miracle has profoundly shaped the growth of cultural and artistic perspectives. Economic liberalization and cultural expansion have provided a horizon of new possibilities for reflection within emerging technological, political, social, and knowledge spheres. In South Korea this new horizon first became visible through a committed and paradigmatic political transformation, a shift underscored by the bold, courageous democracy movement, which erupted on the streets of the city of Gwangju in May 1980 and was brutally beaten down by the military government. The democracy movement was not only unprecedented; it became the leading basis for the democratization of South Korean society and the establishment of new forums of civil society.
Widely acknowledged as the spiritual center of the struggle for participatory democracy in South Korea, the city of Gwangju made the first steps toward claiming the political importance of open civil and cultural forums as indicators of a stable democratic sphere by launching the Gwangju Biennale. At the time of its inception in 1995, the exhibition responded directly to the critical impact of the democracy movements of the 1980s. The inaugural exhibition of Gwangju Biennale was presented to over one million visitors. Over the last decade the Gwangju Biennale’s critical experiment in the field of contemporary art has had a lasting impact in Asia, not least of which is the attempt by other projects in South Korea and neighboring countries to replicate some of its curatorial ambitions and to emulate its example.
The importance of the Gwangju Biennale is, at least, twofold: on the one hand, it is one of the key international cultural institutions to emerge from Korea’s unique modern, national, and historical experience, and linked to the dynamism of Asia in the 21st century. The significance of using the biennial as a model for historical reflection is further underscored when one considers Korea’s postcolonial status. At the same time, the Gwangju Biennale has evolved into one of the few pioneering international exhibitions to engage in the task of analyzing the impact of globalization on the field of contemporary art, and to challenge an older system of international exhibitions based on the outmoded system of national pavilions. In so doing, Gwangju Biennale has provided the space in which to explore the changing nature of international artistic networks, and to examine new modes of artistic subjectivity and conditions of contemporary cultural production that extend beyond national borders or focus on regional modes of identification. Another important point to underscore is the situation of the Biennale as an independent institution. Yet as part of the cultural initiatives of the city of Gwangju, it is simultaneously linked with the network of the global exhibition system and situated at the geopolitical nexus of the cultural policies of the state. These links have allowed the institution to constantly rethink its biennial exhibitions around experimental praxis and innovative curatorial ideas.
In providing such a reflexive site for the critical interrogation of the vicissitudes of contemporary art, the Gwangju Biennale has today assumed a dialectical position in debates focused on the task of reorienting the axis of cultural and institutional networks of contemporary art. The Gwangju Biennale deliberately positions itself as a resolutely global, open-ended exhibition model dedicated to serving as a discursive site for critical works of contemporary art and providing innovative curatorial interfaces for artistic and cultural production. Therefore, a remarkable legacy of its accomplishments is borne out by the fact that it has enlarged its critical mandate while remaining fundamentally an institution based in an artistically underdeveloped region of South Korea. The biennial has therefore continuously fashioned itself as a force in the critical disruption of networks of cultural authority centered in the metropolis.
In 2008, the Gwangju Biennale will continue its tradition of rigorous globalism. The biennale will be designed around three components. The first part, On the Road will be a report on recent exhibitions that have occurred or exhibited elsewhere between 2007-2008. The second component of the exhibition structure, Position Papers, is a platform dedicated to the curatorial proposals and experiments in exhibition making by emerging curators. The third element, Insertions, will take the format of a limited series of new projects commissioned specifically for the biennale.
The principal exhibition logic of 7th Gwangju Biennale will have no thematic framework. Instead, it is comprised of a series of selected traveling exhibitions invited to use the biennale as a destination, a stop on the touring itinerary in the global exhibition network. By inviting exhibitions to the biennale, the aim is not simply to make an exhibition about exhibitions or to debate the principles of curatorial culture. Rather, exhibitions are understood here as fundamental expressions of cultural and intellectual practice, and as such have gone beyond being understood as a form of reflection or forum of debate for art. In our view, exhibition practices, whether centered in museums or commercial galleries, are meeting points for multiple, polymorphic, and diverse publics. In addition, exhibitions have acquired their own unique language and codes of transmission and translation of works of contemporary art, adding to the developing polyglot nature of global cultural discourses. Thus, the principal intention of the 7th Gwangju Biennale is to dedicate a sustained reflection not only on the codes, but, on the discursive relationship between the work of art and its context of presentation, and the environment of display. For the 7th Gwangju Biennale, the exhibition form as such becomes one of the biennale’s principal mediums, a way of simultaneously looking backward and forward, as well as taking stock of the complex ecology of contemporary art and culture. This form functions in relation to the variegated expressive and conceptual methodologies of artists inhabiting the exhibition spaces and sites of the biennale. But instead of considering the context of production ? the artist’s studio ? as the starting point of invitations to artists, the exhibition will focus intensely on an intermediary space, the space of encounter between artwork and viewer, between experience and artistic concept. This intermediary space is the site of reception: the exhibition system.
About the curators
Artistic Director
Okwui Enwezor
Okwui Enwezor is Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute. He is Adjunct Curator at International Center of Photography, New York and previously Adjunct Curator of Contemporary Art, at the Art Institute of Chicago.
Enwezor is founder and editor of the critical art journal Nka: Journal of Contemporary African Art published by the Africana Study Center, Cornell University; and has held academic appointments as Visiting Professor in Art History at University of Pittsburgh, Columbia University, New York, University of Illinois, Urbana-Champaign, and University of Umea, Sweden. Enwezor was Artistic Director of Documenta 11, Kassel, Germany (1998-2002). He has also served as the Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), and 2nd Johannesburg Biennale (1996-1998).
He has curated numerous exhibitions in some of the most distinguished museums around the world, including The Short Century: Independence and Liberation Movements in Africa, 1945-"1994", Museum Villa Stuck; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York and Walker Art Center, Minneapolis; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, co-curator of Echigo-Tsumari Sculpture Biennale in Japan; co-curator of Cinco Continente: Biennale of Painting, Mexico City; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andalucia de Arte Contemporaneo, Seville, and the forthcoming Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York.
As a writer, critic, and editor Enwezor has been a regular contributor to numerous exhibition catalogues, anthologies, and journals. His writings have appeared in numerous journals, catalogues, books and magazines including: Nka: Journal of Contemporary African Art, Third Text, Documents, Texte zur Kunst, Grand Street, Parkett, Artforum, Frieze, Art Journal, Research In African Literatures, Index on Censorship, Engage, Atlantica, amongst many others.
He has served on numerous juries, advisory bodies, and curatorial teams including: member of the advisory team of Carnegie International, Carnegie Museum, Pittsburgh, Venice Biennale, Italy; Hugo Boss Prize, Guggenheim Museum, New York; Foto Press, Barcelona; Carnegie Prize, International Center for Photography Infinity Awards, New York; Young Palestinian Artist Award, Ramallah; Cairo Biennale, Egypt; Istanbul Biennale, Turkey; Sharjah Biennale, United Arab Emirates; Shanghai Biennale, China; Decibel Awards, Arts Council England, London; Andy Warhol/Creative Capital Writers Grant, New York, The Aga Khan Prize in Architecture in Muslim Societies, Geneva. He was appointed member of the scientific committee by the Office of the President of Senegal for the 40th anniversary of the 1st International Negro Arts Festival.
Enwezor is a recipient of awards and grants from Prince Claus Fund for Culture and Development, Ford Foundation, Rockefeller Foundation, International Art Critics Association, Peter Norton Curatorial Award. He received Best International Photography Book of the Year Award for his exhibition catalogue Snap Judgments: New Positions in Contemporary African Photography from Photo Espana and the Deutscher Foto Buch Prize. In 2006, he was awarded the Frank Jewett Mather Award for Distinction in Criticism by the College Art Association.
Curators
Ranjit Hoskote
Ranjit Hoskote (born 1969 in Bombay) is a poet, cultural theorist, translator, and independent curator based in Mumbai, India. He currently holds an Associate Fellowship at Sarai-CSDS (a new-media initiative of the Centre for the Study of Developing Societies, New Delhi). He has worked as the principal art critic and assistant editor with The Times of India, senior editor and cultural commentator for The Hindu, and is currently working on a new journal dedicated to developing a critical discourse for emerging contexts and practices, Locus Standi. Hoskote is the author and editor of numerous books on art and artists and is also the author of five collections of poetry. Hoskote’ s essays and articles on art, culture and the politics of culture appear in the Neue Zurcher Zeitung, Art Asia Pacific, Art & Thought, and The Hindu.
Hoskote is the curator of numerous traveling exhibitions of Indian and Asian art, including a mid-career retrospective of Atul Dodiya, a retrospective of Jehangir Sabavala, and the survey exhibition Aparanta: The Confluence of Contemporary Art in Goa. He was also a co-curator of Under Construction.
Hoskote was a Fellow of the International Writing Program of the University of Iowa, USA (1995). He has held a writing residency at the Villa Waldberta, Munich (2003). A recipient of the Sanskriti Award for Literature (1996), Hoskote was honored with the Sahitya Akademi Golden Jubilee Award by India’ s National Academy of Letters (2004).
Hyunjin Kim
Hyunjin Kim (born in 1975, South Korea) is a curator and a writer, who lives and works in Seoul. Kim completed M.A of Art Studies at Hongik University, Seoul, and participated in Critical Studies (Post-graduate) 2003-04 of Malmo Art Academy & Rooseum Center of Contemporary Art, Malmo, Sweden. She has recently joined PhD. of Curatorial/Knowledge, Visual culture department of Goldsmith College, London.
She has worked for several art institutions : Artsonje center, Seoul (2001-2003) as an assistant curator, Van abbemuseum, Eindhoven (2005-2006) as a research/guest curator, and Insa Art Space, Seoul (2006) as associated curator for IASmedia program development. She is currently working for Gallery27, Kaywon Art & Design School as associated curator, where she has made recent exhibitions like Ten Years, Please - Jewyo Rhii Entrust Project, June 2007; Outside of (Dehors), Sept. 2007; Movement, Contingency and Community, Oct. 2007. Hyunjin Kim also has many previous independent projects and exhibitions including Reality Bites01, the LOOP, Seoul, 2002; Thick-Skinned, Test Site in Rooseum, Malmo, 2004; D-Free Zone, Site 2, Gwangju Biennial 2004; Plug-In#3-Undeclared Crowd, Vanabbemuseum, Eindhoven 2006; Sadong 30-Haegue Yang, Inchon, 2006; Something Mr. C Can’t Have, KIAF2007, Seoul.
She has written for the publication such as Sadong 30, Wien Verlag, Berlin, 2007; The Semiotic Intervention and its Performative Contingency, Dolores Zinny and Juan Maidagan, Sala Rekalde, Bilbao, 2007; The works of Jewyo Rhii- Idiosyncrasy in Making Objects, and its Performativity, Hermes Korea’ s Art Award Exhibition, Seoul, 2007. Her writings and reviews have been contributed to art magazines including, Wolganmisool, ArtinCulture, and Vmspace in Korea. She is also a member of the Seoul based arts Collective Friendly Enemies, who publishes irregular magazine since 2004
Position Papers
Patrick D. Flores
Patrick D. Flores (born 1969) is professor of art history, theory, and criticism at the University of the Philippines at Diliman, and is curator at the National Art Gallery of the Philippine National Museum in Manila. A recognized scholar in the fields of Philippine and Asian art, Flores has organized several national and i
On the road
This section of the biennale will be organized as a series of interlocking arguments, as a set of continuously elaborated relationships, juxtapositions, and structural contiguities, each mapping and bringing together previous experiments in cultural practice. The selected exhibitions and presentations will have been produced and presented no earlier than 2007, or will have been exhibited at some juncture during 2007 and 2008. As the exhibition unfolds, as a field of artistic, curatorial, cultural initiatives, as a concatenation of institutional practices, it serves as a means of knitting together social experiences of art and culture, expanding the forum of even the most arcane of artistic grammars or obscure shows. It becomes a platform to catch those exhibitions or productions we may have either missed or wished we had seen. Annual Report is a report on the distributing system of artistic and cultural forms, a reflection on the intermediary gap between artists, producers, practitioners, and audiences. In so doing, by traveling the selected exhibitions to Gwangju Biennale, the principal aim of the project is to examine afresh the cultural, institutional, exhibitionary networks that define the fundamental paths of public dissemination of contemporary art.
DAVID ADJAYE
African Cities, 2007
Installation view, Graduate School of Design, Harvard University, Cambridge, MA
April 2 - May 23, 2007
JENNIFER ALLORA & GUILLERMO CALZADILLA
Sediments, Sentiments (Figures of Speech), 2007
Foam, white plaster, and audio recordings (subsequent to opening reception performance)
670 x 549 x 457 cm
Installation view, Walter and McBean Galleries. San Francisco Art Institute, San Francisco, CA
October 19 - December 15, 2007
Curated by Hou Hanru ⓒ Allora & Calzadilla
Courtesy the artists and the San Francisco Art Institute, San Francisco, CA
STEFANO ARIENTI
The Asian Shore, 2007
Installation view, Isabella Stewart Gardner Museum, Boston, MA June 29 ? October 14, 2007
Curated by Pieranna Cavalchini
ⓒ Stefano Arienti
Courtesy the artist and the Isabella Stewart Gardner Museum, Boston, MA
SADIE BENNING
Play/Pause, 2006
Two-screen, single channel projected video installation
29:22
ⓒ Sadie Benning
Courtesy the artist
HUMA BHABHA
"...And in the track of a hundred thousand years, out of the heart of dust hope sprang again, like greenness", 2007
Mixed media (wood, acrylic paint, clay, styrofoam, wire, leaves petals, ashes, sand, iron, rust, plastic)
426.7 x 365.8 x 185.4 cm
Installation view, Salon 94, New York September 12 ? October 26, 2007
ⓒ Huma Bhabha
Courtesy the artist and Salon 94, New York
GERARD BYRNE
*ZAN -T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6, 19 (1969 -Feb. 1972); (Andy Warhol's (Interview) v.2, no. 21 - v.3, no. 9, , 2007
Installation view, Isabella Stewart Gardner Museum, Boston, MA
June 29 ? October 14, 2007 Curated by Pieranna Cavalchini
ⓒ Stefano Arienti
Courtesy the artist and the Isabella Stewart Gardner Museum, Boston, MA
BRUCE CONNER
Ricky Williams July 24, 1997, 1997
Photocopy of 1978 photo by BC on Bristol paper mounted on rag board with BEVA® GEL glue, tacks, staples, cloth, plastic
104.5 x 41.9 cm
ⓒ The Estate of Bruce Conner.
Image Courtesy Michael Kohn Gallery, Los Angeles
THOMAS DEMAND
Embassy, 2007
Installation view, Fundacion Telefonica, Madrid, June 2008
ⓒ Thomas Demand
Courtesy the artist and Monika Spruth / Philomene Magers, Munich
ATUL DODIYA
In a Silent Agreement, 2008
Watercolor 101 x 56 cm framed
ⓒ Atul Dodiya
Courtesy the artist and Bohdi Art, Mumbai
LILI DUJOURIE
Memories of Hands, 2007
Installation view, Galerie Erna Hecey, Brussels
September 21 - November 17, 2007
ⓒ Lili Dujourie
Courtesy the artist and Galerie Erna Hecey, Brussels
RAINER WERNER FASSBINDER
Production still from Berlin Alexanderplatz: Remastered, 2008
(Gunter Lamprecht, Yaak Karsunke)
ⓒ Karl Reiter, Rainer Werner Fassbinder Foundation Courtesy Bavaria Media and Rainer Werner Fassbinder Foundation
PETER FRIEDL
Documents,, 2007
Installation view, Galerie Erna Hecey, Brussels
November 30, 2007 ? February2, 2008
ⓒ Peter Friedl
Courtesy the artist and Galerie Erna Hecey, Brussels
HANS HAACKE
Wide White Flow, 1967-2006
Electric fans, white silk fabric Dimensions variable to space (976 x 1.275 cm as installed at Paula Cooper Gallery) Installation view, Paula Cooper Gallery, New York
January 11 ? February 17, 2008
ⓒ Hans Haacke
Courtesy the artist and Paula Cooper Gallery, New York
JAN HENLE
Production still from Con el Mismo Amor, 2007
Film (digital projection) 20:35
ⓒ Jan Henle
Courtesy the artist and Sikkema Jenkins & Co., New York
ISAAC JULIEN
WESTERN UNION: Small Boats, 2007
3 screen video installation Installation view, Metro Pictures, New York
October 25 - November 17, 2007
HASSAN KHAN
KOMPRESSOR, , 2007
General installation view, Le Plateau / FRAC, Paris
October 24 - November 18, 2007
ⓒ Hassan Khan
Courtesy the artist
DONGHEE KOO
Still from Static Electricity of Cat's Cradle, 2007
HD video 11:30
ⓒ Donghee Koo
Courtesy the artist and Arario Gallery, Seoul
DAVID LAMELAS
Film Script (Manipulation of Meaning), 1972
Installation with 16 mm film and slide projectors Dimensions variable
Installation view, Monika Spruth & Philomene Magers, London
September 6 ? September 29, 2007
Courtesy the artist and Monika Spruth & Philomene Magers, London
GLENN LIGON
”Glenn Ligon” Installation view, Regen Projects, Los Angeles
October 27 - December 8, 2007
ⓒ Glenn Ligon
Courtesy the artist and Regen Projects, Los Angeles
KERRY JAMES MARSHALL
Every Beat of My Heart, 2008
Installation view, Wexner Center for the Arts, Columbus, OH
February 2 ? April 13, 2008
Curated by Shelly Casto ⓒ Kerry James Marshall
Courtesy the artist and Wexner Center for the Arts, Columbus, OH
GORDON MATTA-CLARK
Gordon Matta-Clark: "You Are The Measure"
Installation view, Whitney Museum of American Art, New York
February 22 - June 3, 2007
Curated by Elisabeth Sussman Photography by Sheldan C.
Collins Courtesy the Estate of Gordon Matta-Clark and David Zwirner, New York
MATTHEW MONAHAN
Five Years, Ten Years, Maybe Never
Installation view, Museum of Contemporary Art, Los Angeles
July 26 ? October 29, 2007
Curated by Ari Wiseman ⓒ Matthew Monahan Photography:
Joshua White Courtesy Museum of Contemporary Art, Los Angeles and Anton Kern, New York
JINA PARK
Excursion
Installation view, One & J. Gallery, Seoul May 17 - June 16, 2007
All works ⓒ Jina Park
Courtesy the artist and One & J. Gallery, Seoul
TARYN SIMON
The Central Intelligence Agency, Art, CIA Original Headquarters Building, Langley, Virginia
The Fine Arts Commission of the CIA is responsible for acquiring art to display in the Agency’s buildings.
Among the Commission’s curated art are two pieces (pictured) by Thomas Downing, on long-term loan from the Vincent Melzac Collection. Downing was a member of the Washington Color School, a group of post-World War II painters whose influence helped to establish the city as a center for arts and culture. Vincent Melzac was a private collector of abstract art and the Administrative Director of the Corcoran Gallery of Art, Washington D.C.’s premier art museum.
Since its founding in 1947, the Agency has participated in both covert and public cultural diplomacy efforts throughout the world. It is speculated that some of the CIA’s involvement in the arts was designed to counter Soviet Communism by helping to popularize what it considered pro-American thought and aesthetic sensibilities. Such involvement has raised historical questions about certain art forms or styles that may have elicited the interest of the Agency, including Abstract Expressionism.
ⓒ 2007 Taryn Simon
Courtesy Steidl / Gagosian
DAYANITA SINGH
From the series Go Away Closer, 2007
Series of 31 black and white photographs
42 x 45 cm each
ⓒ Dayanita Singh
Courtesy the artist and Nature Morte, New Delhi
CATHERINE SULLIVAN
Triangle of Need, 2007
Multi-channel video projection Installation view, Metro Pictures Gallery
January 26 ? February 23, 2008
ⓒ Catherine Sullivan
Courtesy of the artist; A Foundation, Liverpool; Vizcaya Museum and Gardens, Miami; The Walker Art Center, Minneapolis; and Metro Pictures, New York
UIJAE HUH, BAIKRYUN
Wealth and Prosperity,1958 (detail)
Six-panel folding screen Chinese Ink and light coloring on Korean paper
126 x 308 x 6 cm
Courtesy of the Uijae Art Museum, Gwangju
BRUCE YONEMOTO
From the series Untitled (NSEW), 2008
Series of 8 digital prints
61 x 45.7 cm each
ⓒ Bruce Yonemoto Courtesy the artist and Alexander Gray Associates, New York
JOHN ZURIER
John Zurier: Night Paintings
Installation view, Larry Becker Contemporary Art, Philadelphia, PA
March 1 ? April 26, 2008
All artwork ⓒ John Zurier
Courtesy the artist and Larry Becker Contemporary Art, Philadelphia, PA Photograph: Kocot and Hatton
HIROSHI SUGITO
The Face, 2007
Acrylic on canvas
91 x 73 cm
ⓒ Hiroshi Sugito
Courtesy the artist and Tomio Koyama Gallery, Tokyo
LUIS MOLINA-PANTIN
Estudio informal de la arquitectura hibrida. Vol 1. La Narco ? Arquitectura y sus contribuciones a la comunidad (An informal study of the hybrid arquitecture, Vol. 1 -The narc-arquitecture and their contributions to the community. Cali - Bogota, Colombia), 2004-5
Series of color photographs
Dimensions variable Installation view, Sala Mendoza, Caracas
October 28, 2007 ? January 20, 2008
ⓒ Luis Molina-Pantin
Courtesy the artist; Sala Mendoza, Caracas; and Federico Luger Gallery, Milan
STEVE MCQUEEN
Gravesend, 2007
35mm film transferred to high definition
17:58
Edition of 6
Installation view, Renaissance Society, Chicago September 16 ? October 28, 2007
ⓒ Steve McQueen
Courtesy the artist and La Biennale di Venezia; The Fondazione Sandretto Re Rebaudengo, Torino; The Renaissance Society at The University of Chicago; Marian Goodman Gallery, New York & Paris; and Thomas Dane Ltd, London. In association with Okwui Enwezor.
BYRON KIM
Koryo Green Glaze #1, 1995
Oil on linen
213 x 152 cm
ⓒ Byron Kim
Courtesy the artist, Max Protetch Gallery, New York, and Leeum Samsung Museum, Seoul
MOVEMENT, CONTINGENCY, COMMUNITY
(Group exhibition featuring Gan Altay, Jewyo Rhii, Jimmy Robert, Nina Canell, Pidgin Collective, Runo Lagomarsino, and Wooyeon Lee)
Installation view, Gallery27, Kaywon Art & Design School, Seoul
October 19 ? November 12, 2007
Curated by Hyunjin Kim
All artwork ⓒ the artists
Courtesy the artists and Hyunjin Kim
KOHEI YOSHIYUKI
Untitled, 1971 (plate 31) from the series: The Park, 2007
Gelatin Silver Print
ⓒ Kohei Yoshiyuki
Courtesy the artist and Yossi Milo Gallery, New York
Positions papers
The second component of the exhibition will focus on new curatorial ideas, exhibition initiatives, and other proposals. As one of the three constellations of the biennale, Position Papers will feature small group exhibitions of no more than five artists each, where each curator is encouraged to present and install work by artists of their choosing. The Position Papers are an open format with no other restriction than the one mentioned above and will correlate to the other platforms of the 7th Gwangju Biennale, namely On the Road and Insertions, as curators will intervene into the fabric of the biennale as well as the city of Gwangju. Each of the projects developed as part of Position Papers is to be seen as a work in progress, a provisional essay towards a larger horizon, and may consist of previously existing work, or may include newly-commissioned artworks.
Turns in Tropics: Artist Curator
Curators :
Patrick D. Flores
Apinan Poshyananda
Blue Laughter, 1987
DVD projection
Courtesy the artist
Jim Supangkat
Ken Dedes, 1975
Sulpture
61 x 44 x 27 cm
Collection of the Singapore Art Museum
Position papers
Expedition 7 (Patries Relatives)
Curators :
Abdellah Karroum
Seamus Farrell
U.N Circle, In Recycled Car Doors, 2008
Engraved glass, blown glass, drawing, car doors
Dimensions variable
Courtesy of the artist
Vincent + Feria
Exploratorium 0.3, workshop-connections-invitations-postproduction, 2008
Mixed-media installation
Dimensions variable
Courtesy of the artists
Position papers
On Jouissance for those without places to return
Curators :
Jang Un Kim
Seulgi Lee
Roue/Fromage (Wheel/Cheese), 2005
Tree trunk
60 cm diameter
Courtesy the artist.
Photograph Simon Boudvin
Mandla Reuter
Coppice, 2007
Series of palm trees
Dimensions variable
Courtesy the artist
Position papers
SPRING
Curators :
Claire Tancons
Jarbas Lopes
Demolition Now, 2008
Procession of 2 floats (polystyrene plates, liquid polyurethane) held by approx. 50 people
covered in clay, sound
6 hours in duration
Courtesy the artist
MAP Office
The Final Battle, 2008
Procession of 9 wagons (bamboo, paper, firecrackers, mixed media) carried by 2 people each;sound
2 hours in duration; dimensions variable
Courtesy the artists
Position papers
Bokdukbang Project
Curators :
Sung Hyen Park
Hun-ju Gu
Sightseeing Market, 2008
Site-specific graffiti and installation on shutters and walls, mixed media
Dimensions variable
Courtesy the artist
PROGRAMS
Formations of Global Civil Society and Domains of Public Culture
As part of the Annual Report: A Year in Exhibitions, a series of plenary sessions will be held this fall in Korea and China. The sessions, collectively entitled Formations of Global Civil Society and Domains of Public Culture, will consist of a number of working groups organized around inquiries into the historical and contemporary dynamics of civil society as they relate both to the democratic postcolonial Korean state and its relationship to its neighbors, as well as elaborating on broader issues of state ideology, global participation, and interrogating the hyperpower of the modern state and the compromises of non-state institutions such as the United Nations. The plenary sessions will offer for consideration a series of questions surrounding the global dynamics of art, culture, and soft power as they relate to formations of various localized conceptions of civil society and state power.
Central to variegated conceptions of civil society is a fundamental understanding: the conception of a collective expression existing outside of, or adjacent to, formations of state power. This collective, non-state expression is synonymous with the elaboration of opinion and thought in forums of debate and discussion - arenas of public interaction that, by their very nature, exist outside of parliamentary or otherwise centralized modes of governance. In its many forms of expression, civil society therefore challenges assumptions of the authority of the state as well as supra-state institutions by providing a framework for civic assemblies that are by their very nature extra-political associations.
But, what exactly defines the relationships between communities and states in transition? The various understandings of civil society today requires revisiting, especially given the fact that some states seem to be succeeding, others failing, and yet, others that seem to be emerging into more stable stages of governance. Of particular interest are the specific dynamics of civil societies where state structures appear to be fragile, or in other cases, where these structures have developed a comprehensive level of stability. In recent years the concept of civil society has been actively revived as the road towards participatory governance, particularly in the context of emerging states or those in transition, and those on the verge of failure or those which have structurally and conceptually failed. In instances where the organs of the state have all but disappeared, new structures supplant, dig in new roots, and in their wake modes of flexible associations and civic instruments are produced to stabilize or maintain relationship between competing claims.
Formations of Global Society and Domains of Public Culture takes as its inspiration and starting point the constellation of thought and activities surrounding the Gwangju Uprising of May 1980. As a form of countercultural political expression, the minjung movement lasted over two decades and was a prominent aspect of South Korean politics and social life throughout the 1970s and 1980s. One of the most visible manifestations of minjung, the Gwangju uprising, has been recognized as foundational in South Korea’s transition towards a democratic state. A number of profound historical transformations led to this moment, including not only the minjung movement immediately associated with the uprising, but also earlier expressions of civil sovereign power by a population that had endured waves of occupation from domestic and foreign state formations, some dating back to the peasant uprisings of the late 19th century. Apprehending these revolutionary gestures would necessarily involve an understanding of, among other moments, the Japanese occupation of the Korean peninsula, and the subsequent and increasingly invasive presence of the United States in a divided, postcolonial South Korean state. The specific historic example of minjung represents the remarkably successful alignment of historically disparate communities - including student organizations, labor unions, and religious groups - into a cohesive movement dedicated to the redistribution of state power and the assertion of civic expressions that defied modes of absolute state power. By virtue of this civic challenge to the hegemony of centralized state power, the minjung movement resonates with other historical examples of global civil society formations, including the rise of the New Left in Europe and the United States, and various postcolonial expressions of autonomy found in Africa, South America, and Asia.
It is in this context that we can begin to compare these expressions of civil society, and to query their present manifestations, and to more contemporary movements engaged with assertions of subjective rights in the face of overwhelming opposition by various regimes wielding disproportionate power. In this sense one may consider the examples of failed states, or states in near collapse, where once-centralized modes of governance are no longer able to support or administer to the needs and collective will of a given society.
Returning to our original line of inquiry, namely, the examination of various global formulations of civil societies, there remains the crucial question of when and how, once power has been decentralized and placed into the hands of the popular movement, to reallocate power to political society. After the clamor, how to act accordingly? Such transitions have never come easily, and for this reason the Plenary Sessions will also seek to explore how these networks of civic associations, independent of the state, begin to influence, or assume dimensions of the very forms of governance they seek to avoid, or have only recently displaced. It is in this sense that the Plenary Sessions will offer a platform for examining pivotal moments, both contemporary and historical, where the relationship between state and civil society hovers, in a state of animation and contestation.
To this end, Formations of Global Society and Domains of Public Culture will be formulated around three broad themes: civil society as a form of coalition building; civil society as a platform of the global multitude; and civil society in relation to nihilism.
Why Plenary Sessions?
Different from a traditional conference, our interest in adapting plenary model is to permit greater proximity between participants in order to explore the set of evolving discourses and debates around civil society between working groups. To our thinking the plenaries will deploy the tools of negotiation rather than the podium of the lecture to disrupt the hierarchies inherent in levels of discursive power. We prefer plenary sessions for the intimacy they provide. We wish to work with sustained and open-ended working groups of committed intellectuals, academics, artists, who feel that the field of contemporary art is deeply intertwined with ongoing processes of change and transitions that are emblematic of the current state of global development. Beginning with a series of core working groups, the plenaries are intended as a structure or framework for ongoing work, extending beyond the parameters of the biennale.
GLOBAL INSTITUTE
7th Gwangju Biennale
Global Institute: Experiments in Transnational Education
The Global Institute as part of the 7th Gwangju Biennale Annual Report: A Year in Exhibitions is a two-part educational program with Session 1 (August 11~August 23, 2008) and Session 2 (September 24~September 27, 2008).
The Global Institute Session 1: Workshops in Seoul and Gwangju
(August 11~August 23, 2008)
The Session 1, held in collaboration with Korea National University of Arts, Seoul and Chonnam National University, Gwangju, is organized into a series of workshops and clinics within two programs, Open Studio and Arenas and Systems. In both programs, participants will work with a rich community of artists, curators, critics, and intellectuals, to examine the theoretical and historical questions currently being raised around contemporary art.
Open Studio begins with the interrogation of the current status of the artist studio and in so doing will raise questions about where a studio is located in the changing context of global art practice. At a time when the artist’s studio has shifted into a veritable factory floor, a kind of manufactory employing legions of skilled labor, considerations of artistic production could be seen as moving from the ethos of small scale production to one of hyper production, a condition exemplified by the practices of contemporary artists from Warhol to Murakami, Hirst, Koons, Matthew Barney, Olafur Eliasson, Ai Weiwei, Zhang Huang. In this series of seminars and colloqiuia, invited speakers, artists, architects will consider issues of conditions of production, examining how artists shift between multivalent platforms of thinking and making. The meetings will address scales, modes, contexts, models, and conditions of production, from art academies, artist residencies, workshops, travel grants, independent study programs as perhaps part of the global manufactory of itinerant trajectories. Open Studio considers the studio as a site of inquiry, experimentation, and elaboration, a space for meditation on various modes of production.
Arenas and Systems In a year when 11 international Biennials, Triennials, and the Olympic Quadrennial will open between June and September in the Asia Pacific region in 11 cities bidding for global cultural relevance with the Beijing Olympics sited at the core, it may be possible to suggest, that we may be witnessing the beginning of the Asian century. In the same way the 19th century was the European century and the 20th century was the American century, there is no doubt, that Asia today represents and incubates the same forces and energies of modernity of the last two centuries. Given this scenario, new situations and institutions are emerging in Asia that elaborate a new and unique deployment of the politics of spectacle. This emergence requires critical consideration and reflection. As with Open Studio, Arenas and Systems will involve various curators, critics, artists, and thinkers will be conducted in the form of a series of workshops, seminars, and colloquia to take place as the exhibition begins in early September.
Lecturers and workshop leaders include: this year’s Gwangju Biennale’s Artistic Director and curators (Okwui Enwezor, Ranjit Hoskote, Hyunjin Kim, Claire Tancons, Abdellah Karroum, Sun Hyen Park, Patrick Flores, Jang Un Kim), participating artists( Bingyi Huang, Juan Maidagan, Jin Won Lee, MYDADA, Tania Bruguera and Arte de Conducta, Karyn Olivier, Jewyo Rhii, etc.), and renowned professors of Korea National University of Arts and Chonnam National University (Sunjung Kim, Hyungmin Pai, Suk Won Jang, Soo Jong Yoon and so on).
The Global Institute Session 2: Pre-Seminars and International Symposium in Gwangju (September 24 to 27, 2008)
The Global Institute Session 2 is held in collaboration with Korea National University of Arts, Seoul; Chonnam National University, Gwangju; the San Francisco Art Institute; and the Royal College of Art, London. The Session 2 is composed of Pre-Seminars (where selected students from four universities discuss issues and theories developed in readings included in the course package) and International Symposium (where invited cultural theorists, intellectuals, art historians, critics, and curators present their papers to stimulate discussions).
Both Pre-Seminars and International Symposium aim to consider the notion of the Politics of Spectacle and the Global Exhibition in response to changes shaping the distribution of global culture. Two types of cultural convergence make this moment ripe for speculative review around the productivity of the exhibition form: first, this year marks the anniversaries of May 1968 student rebellion and workers strike in France, and the May 18, 1980 Gwangju civil uprising. The continuing examination of these two events in the recasting of the history of radical politics and the emergence in their wake of radical cultural practices provides a contemporary theoretical horizon around which to think forms of contemporary art and activism. Second, it is also the latest defining moment of a rapidly metastasizing system of art fairs, biennials, and mega exhibitions.
Anchored by the 2008 Beijing Olympics, the convergence of these events and the various national and regional agendas ? cultural, economic, political ? that define them, exemplify both the magnitude of the changes taking place in Asia, but also the scale and ambition within which they are occurring. Such scale and ambition, and the confidence with which they are pursued have led to the idea of this moment possibly being the Asian century. Clearly, it is no longer a question of whether or not biennials or similar formations are here to stay ? but rather, to see how they might become productive, to both fit and surpass the horizon of spectacular manifestations around which they are designed and also to articulate the various forms of cultural politics shaping their growth.
ARTISTS
1 Abdessemed, Adel (Algeria, lives in New York)
2 Abidi, Bani (Pakistan, lives in Delhi, Karachi, London)
3 Adjaye, David (Ghana/UK, lives in London)
4 Albano, Raymundo (Philippines, 1947-1985)
5 Allora, Jennifer & Calzadilla, Guillermo (USA, live in Puerto Rico)
6 Almarcegui, Lara (Spain, lives in Rotterdam)
7 Alÿs, Francis (Belgium, lives in Mexico City)
8 Area Park (South Korea, lives in Seoul and Tokyo)
9 Arienti, Stefano (Italy, lives in Milan)
10 Arima, Kaoru (Japan, lives in Nagoya)
11 Benjamin, Mario (Haiti, lives in Port-au-Prince)
12 Benning, Sadie (USA, lives in Chicago)
13 Bhabha, Huma (Pakistan/USA, lives in New York)
14 Biemann, Ursula (Switzerland, lives in Zürich)
15 Bingyi (China/USA, lives in Buffalo and Beijing)
16 Bruguera, Tania & Arte Conducta (Cuba, live in Chicago and Havana)
17 Bunimov, Mariana (Venezuela, lives in Caracas)
18 Byrne, Gerard (Ireland, lives in Dublin)
19 Chen, Qiulin (China, lives in Beijing)
20 Chen, Shaoxiong (China, lives in Guangzhou)
21 Eunji Cho (South Korea, lives in Seoul)
22 Chung Seoyoung (South Korea, lives in Seoul)
23 Conner, Bruce (USA, lives in San Francisco)
24 Demand, Thomas (Germany, lives in Berlin)
25 Dodiya, Atul (India, lives in Bombay)
26 Dujourie, Lili (Belgium, lives in Brussels)
27 Dulzaides, Felipe & Gottardi, Roberto (Cuba and Italy, live in Havana)
28 Farrell, Seamus (Ireland, lives in Paris and Patria, Spain)
29 Fassbinder, Rainer Werner (Germany, lived and worked in Munich, 1945-1982)
30 Faust, Daniel (USA, lives in New York)
31 Fischer, Nina & El Sani, Maroan (Germany, live in Sapporo, Japan)
32 Friedl, Peter (Austria, lives in Berlin)
33 Gao, Shiqiang (China, lives in Hangzhou)
34 Griffith, Marlon (Trinidad and Tobago, lives in Port of Spain)
35 Gu, Hun-ju (South Korea, lives in Busan)
36 Guimaraes, Tamar (Brazil, lives in Copenhagen and Mälmo)
37 Gupta, Shilpa (India, lives in Bombay)
38 Haacke, Hans (Germany, lives in New York)
39 Hempel, Lothar (Germany, lives in Berlin)
40 Henle, Jan (USA, lives in New York and Puerto Rico)
41 Hwang, Chiyoung (South Korea, lives in Gwangju)
42 Issa, Iman (Egypt, lives in Cairo)
43 Jo, Haejun and Jo, Donghwan (South Korea, lives in Jeonju / lives in Seoul and Germany)
44 Julien, Isaac (U.K., lives in London)
45 Kang, Teahun (South Korea, lives in Busan)
46 Khan, Hassan (Egypt, lives in Cairo)
47 Khurana, Sonia (India, lives in New Delhi)
48 Kim, Byron (USA, lives in New York)
49 Kim, Sung Hwan (South Korea, lives in New York)
50 Seung Wook Koh (Korea, lives in Seoul)
51 Konaté, Abdoulaye (Mali, lives in Bamako)
52 Koo, Donghee (South Korea, lives in Seoul)
53 Lamelas, David (Argentina, lives in Los Angeles)
54 Larnet: Lim, In Ae & Hong, Eun Young (South Korea, live in Busan)
55 Lee, Jin Won (aka GAZAEBAL) Musician (South Korea, lives in Seoul)
56 Lee, Seulgi (South Korea, lives in Paris)
57 Lheureux, Christelle (France, lives in Paris)
58 Ligon, Glenn (USA, lives in New York)
59 Lopes, Jarbas (Brazil, lives in Rio de Janeiro)
60 Louie, Reagan (USA, lives in San Francisco)
61 Lum, Ken (Canada, lives in Vancouver)
62 Ma, Mun-ho (South Korea, lives in Naju)
63 MAP Office: Gutierrez, Laurent and Portefaix, Valérie (France, live in Hong Kong)
64 Marshall, Kerry James (USA, lives in Chicago)
65 Marzouk, Mona (Egypt, lives in Cairo)
66 Matta Clark, Gordon (USA, lived and worked in New York 1943-1978)
67 McQueen, Steve (UK, lives in Amsterdam)
68 Medina, Daniel (Venezuela, lives in Caracas)
69 Molina Pantin, Luis (Venezuela, lives in Caracas)
70 Monahan, Matthew (USA, lives in Los Angeles)
71 Movement, Contingency and Community (Group Exhibition)
72 MYDADA (Yong Soon Min, Allan deSouza, and Abdelali Dahrouch, USA, based in Los Angeles)
73 Nam, Hwayeon (South Korea, lives in Seoul)
74 Oil 21 (Germany, based in Berlin)
75 Olivier, Karyn (USA, lives in New York)
76 Opsomer, Els (Belgium, lives in Brussels)
77 Park, Jina (South Korea, lives in Seoul)
78 Park, Jooyeon (South Korea, lives in Seoul)
79 Park, Munjong (South Korea, lives in Damyang)
80 Peik, Kiyoung (South Korea, lives in Ansan)
81 Piyadasa, Redza (Malaysia, 1939-2007)
82 Poshyananda, Apinan (Thailand, lives in Bangkok)
83 Ractliffe, Jo (South Africa, lives in Johannesburg)
84 Reuter, Mandla (Germany, lives in Berlin)
85 Rhii, Jewyo (South Korea, lives in Seoul)
86 Sadek, Walid (Lebanon, lives in Beirut)
87 Schönfeldt, Joachim (South Africa, lives in Johannesburg)
88 Senghor, Fatou Kande (Senegal, lives in Dakar)
89 Shin, Ho-yoon (South Korea, lives in Gwangju)
90 Simon, Taryn (USA, lives in New York)
91 Singh, Dayanita (India, lives in New Delhi)
92 Soi, Praneet (India, lives in Amsterdam)
93 Sugito, Hiroshi (Japan, lives in Nagoya)
94 Sullivan, Catherine (USA, lives in Los Angeles)
95 Supangkat, Jim (Indonesia, lives in Bandung)
96 Tanaka, Koki (Japan, lives in Tokyo)
97 Toirac, José (Cuba, lives in Havana)
98 Tripp, Caecilia Filmmaker(Germany, lives in Paris and São Paulo)
99 Uijae Huh, Baikryun (South Korea, lived and worked in Gwangju 1891-1977)
100 Villeglé, Jacques (France, lives in Paris)
101 Vincent+Feria: Vincent, Françoise & Feria, Eloy (France & Venezuela, live in Paris and Caracas)
102 Wenemoser, Alfred (Austria, lives in Caracas)
103 Xhafa, Sislej (Kosovo, lives in New York)
104 Yang, Sungyoon (South Korea, lives in Seoul)
105 Yiadom Boakye, Lynette (U.K., lives in London)
106 Yonemoto, Bruce (USA, lives in Los Angeles)
107 Yoshiyuki, Kohei (Japan, lives in Tokyo)
108 Zarina (India/USA, lives in New York)
109 Zinny, Dolores & Maidagan, Juan (Argentina, live in Berlin)
110 Zurier, John (USA, lives in Berkeley)
Did you see that CNN article about the riots in Oakland? It's really tragic what happened but the riots don't solve anything.
