11th Gwangju Biennale
2. 9. – 6. 11. 2016

Temperature check

December 31, 2016

What did the 11th Gwangju Biennale do?

The yearlong run of the 11th Gwangju Biennale—The Eighth Climate: What Does Art Do? has come to an end. Officially beginning with a Monthly Gathering organized in collaboration with the Gwangju-based art collective and “local curatorial associate” Mite-Ugro in December 2015 and the first Infra

December 7, 2016

The Mite-Ugro Art and Theory Book Collection

One month after the official ending of the 11th Gwangju Biennale, the donation-based Mite-Ugro Art and Theory Book Collection consists of more than 600 volumes. Friends, peers and colleagues have generously donated books which are kept in the Mite Ugro project space in the Daein Market, Gwangju. A r

November 25, 2016

Tyler Coburn's GB11 Commission acquired by Seodaemun Museum of Natural History, Seoul

We are happy to announce that Tyler Coburn's GB11 Commission Ergonomic Futures was acquired by Seodaemun Museum of Natural History in Seoul. Tyler Coburn’s Ergonomic Futures begins with a question: Is it possible, at some point in the future, that our bodies experience such a degree of evolutio

November 6, 2016

GB11 Publication by Metahaven on sale online

The first of two publications of GB11, titled The Eighth Climate: What Does Art Do?, it provides an introduction to the work of each participating artist, an introduction to this edition of the Gwangju Biennale, Q&As between artists and curators exploring possible and multiple ways of reading the wo

November 2, 2016

Infra-School - lecture by Ingela Ihrman at RAT SCHOOL

Saturday, 5 November, 8.00 PM Ingela Ihrman's practice moves freely between performance art, installations, and writing. Costumes and staged situations are reoccurring elements in her presentations, bringing creatures into life while i.e. giving birth or blooming. Her work is characterized by tac

October 29, 2016

SNUAC-Gwangju Biennale Workshop - Concrete Responses: What Does Art Do?

Tuesday 1 November 11:00-18:00 Gwangju Biennale Exhibition Hall, Geosigi Hall The workshop “Concrete Responses: What Does Art Do?” gather scholars, GB participating artists and curators, and other cultural producers to share articulating responses to the question, “what does art do?” a

October 29, 2016

Inter-Asia and the Other Worlds: Wild Connectivity

Inter-Asia Biennale Forum, organized with the 11th Gwangju Biennale as part of its Infra-School program On the occasion of the finissage of the 11th Gwangju Biennale, an Inter-Asia Biennale Forum co-organized by Inter-Asia School and the 11th Gwangju Biennale will take place over three days fro

October 28, 2016

You buy a collection of frogs - Bernd Krauß by Candace Goodrich (CuratorLab)

The different modes of transportation that we utilize while traveling to a foreign land, unequivocally dictate the level and type of experience and engagement we have with a place and culture. On the surface, the seemingly minuscule distinction between an air-conditioned taxi verse a bus that fills

October 28, 2016

I feel like a mobile partisan artist - Babi Badalov in conversation with Domna Gounari (CuratorLab)

Babi Badalov’s Car-Pet-Alism installation spreads all the way through the corridor leading towards the 2nd floor of the 11th Gwangju Biennale main exhibition space. Hundreds of multi-sized paper and fabric cut outs, photos, personal objects, intelligently manipulated words and phrases with strong

October 28, 2016

United to what? - On a new film commission by Ahmet Öğüt for GB11 by Florin Bobu (CuratorLab)

I encountered the latest work of Ahmet Öğüt United-for the first time in Gwangju, in the frame of the 11th Gwangju Biennale The Eighth Climate (What does art do?), displayed in the public space on an advertising billboard. I thought about it and saw it again in my hotel room in Stockholm and once

October 28, 2016

In Focus: The off-site artist commissions of GB11 - by Jérôme Malpel (CuratorLab)

The Eight Climate (What does art do?) biennale takes place in the South Korean city of Gwangju. The city became an important and powerful location in the struggle for democracy in the country, where peaceful demonstrations were suppressed by military forces, their political uprising leading to a vio

October 28, 2016

The material world is very existential - Ane Graff in conversation with Madelene Gunnarsson (CuratorLab)

One of my most enriching encounters during the 11th Gwangju Biennale, 2016, was meeting Norwegian artist Ane Graff who exhibited the work “Mineral Breath, Metal Mouth”. Her work is an ongoing artistic investigation in the nature of matter and how we understand and experience the physical world a

October 28, 2016

Uninhabitable spaces for contemporary art - Céline Condorelli in conversation with Nikki Kane and Christine Langinauer (CuratorLab)

For her 11th Gwangju Biennale commission, artist Céline Condorelli has occupied in-between spaces in the exhibition areas, a balcony and an entryway between galleries in the Biennale Hall. Here, she presented two of three new works made for the Biennale, each of which creates an active, ‘living

October 28, 2016

Q/A with Ayesha Sultana by Saima Usman (CuratorLab)

Ayesha Sultana was born in Jessore, Bangladesh and is now based in Dhaka. She received her Post-Graduate Diploma in Art Education from Beaconhouse National University, Lahore Pakistan, in 2007-2008. As a constantly evolving process, Ayesha’s work could not be identified as belonging to a single ar

October 25, 2016

Interview with Babi Badalov - video by the Gwangju Biennale International Curator Course

BABI BADALOV CAR-PET-ALISM, 2016 We have followed artist Babi Badalov during his on-site realization of CAR-PET-ALISM. The work is a collection of images forming a large-scale wall installation, where fragmented and combined words in many languages are juxtaposed with pieces of painted textile

October 25, 2016

"Dawn Breaks" by Jewyo Rhii and Jihyun Jung - video by the Gwangju Biennale International Curator Course

JEWYO RHii + JIHYUN JUNG DAWN BREAKS, 2016 This short video followssequences from rehearsals of Dawn Breaks, project by artists Jewyo Rhii and Jihyun Jung. This multiple-installation project, occupying both inside and the outside spaces of the Biennale structure, required an intense and fascinat

October 25, 2016

Fernando García-Dory's "The Lament of The Newt" - video by the Gwangju Biennale International Curator Course

FERNANDO GARCÍA-DORY + DULE NALE THE LAMENT OF THE NEWT, 2016 The video shows the beginning of the production of The Lament of the Newt, a collective performance in defense of the last rice field in Gwangju. Fernando García-Dory, Hyun Yeoung-Eun, and Lim Inza, together with the Hansaebong Dur

September 30, 2016

Monthly Gathering - October

Program: ​20 October 4-5pm The Art Work in Focus group discussion of Toxic, Opaque, To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation by Pauline Boudry / Renate Lorenz. At Biennale Exibition Hall (G5) 21 O

September 30, 2016

Online streaming from Flo Kasearu House Museum's garden

Follow this link to accompany the works at Flo Kasearu's House Museum Garden, where South Korean gardeners are undertaking a collective project. Stay tuned! flokasearu.eu

September 30, 2016

Meditation: Ingela Ihrman and Gwangju Federation for Environmental Movement

During the opening days, artist Ingela Ihrman met up with collective A Drop of Water and a Trap of Earth, from the Gwangju Federation for Environmental Movement to discuss her research and work on view at GB11.

September 29, 2016

Mediation: Doug Ashford meeting with Gwangju Trauma Center

As a part of the Mediation program of GB11, Doug Ashford gathered with members from the Gwangju Trauma Center for a conversation around his installation, focused on the experience of the 5.18 victims' family.

September 15, 2016

"New Eelam" by Christopher Kulendran Thomas on view at ACC

All over the world, citizenship – the right to belong somewhere – is tied to specific nations. But what if technology could allow a more liquid citizenship beyond national borders? New Eelam, by Christopher Kulendran Thomas, is a long-term artwork in the form of a startup – a real-estate techn

September 14, 2016

Download Tommy Støckel's "The Gwangju Rocks" emoji board

The Gwangju Rocks are based on actual rocks found in the city of Gwangju – placed as “nature sculptures” in the city’s gardens and parks. The artist made 3D scans of a selection of six rocks, simplified and animated each to appear as a digital character with individual behaviour and distinct

September 14, 2016

Tyler Coburn's "Ergonomic Futures" short story website

Tyler Coburn's "Ergonomic Futures" 2016— comprises a series of ergonomic furniture, designed for imagined future humans, available for use in the exhibition area. Accompanying this furniture is a website of short stories, www.ergonomicfutures.com, which mimics the structure of Aristotle’s “gr

September 13, 2016

Mediation: Ann Lislegaard meet up with the Gwangju Science High School for gifted

On the sequence of her participation at GB11, artist Ann Lislegaard met up with the Gwangju Science High School for gifted to discuss science fiction in relation to the works on view at the exhibition halls.

September 6, 2016

Maria lind on Nazgol Ansarinia

Maria lind on Nazgol Ansarinia in Art Review Summer 2016

September 6, 2016

Forum "To All the Contributing Factors" on stream online

To All the Contributing Factors is a forum organized as part of the 11th Gwangju Biennale, titled The Eighth Climate (What Does Art Do?), discussing works by small- and medium-scale art organizations across the world with regards to questions of value, continuity, and scale, and imagining acts in co

September 6, 2016

Independent publishing meeting at Nokdu bookshop

Independent publishing meeting at Dora Garcia's installation "Nokdu bookshop for the living and the dead" moderated by Hana Park from McGuffin cafe. Sunday 4 September

September 6, 2016

Maria Lind on Flo Kasearu

Maria Lind on Flo Kasearu in Art Review March 2016

September 6, 2016

Maria Lind on Pauline Boudry and Renate Lorenz

Maria Lind on Pauline Boudry and Renate Lorenz, in Art Review September 2015

September 6, 2016

Maria Lind in conversation with Marie Kølbæk Iversen

Maria Lind in conversation with Marie Kølbæk Iversen Kaleidoscope Magazine

September 6, 2016

Maria Lind in conversation with Trevor Paglen

Maria Lind in conversation with Trevor Paglen Kaleidoscope Magazine

September 3, 2016

United - a new film commission by Ahmet Öğüt for GB11

Ahmet Öğüt United, 2016, two channel HD animation, one channel of the two-channel animation shown in a pubic screen in Gwangju, the other channel of which is being simultaneously shown Alt Art Space and YAMA in Istanbul, 1’ each. trailer:

August 24, 2016

Event Program of 'Master Plan for Duamdong'

Apolonija Sustersic & Dari Bae invite us to the program of events they will develop at Nuribom Community Center! Please come and join the 1st event scheduled this Saturday 27th August! Program of events: [b] Sat 27 August 2016 16:00-18:00 Presentation of the Master Plan for Duamdong by

August 6, 2016

Annie Lai Kuen Wan at work - video by the Gwangju Biennale International Curator Course

ANNIE LAI KUEN WAN EVERYDAY A RAINBOW, 2016 The video follows Lai Kuen Wan during the production process of her artwork Everyday a Rainbow. We followed the artist within the surroundings of the Biennale Exhibition Hall, as she was shopping and searching for objects of everyday life, taking meas

August 4, 2016

Tommy Støckel in residency

Berlin-based artist Tommy Støckel is in residency in town building the installation The Gwangju Rocks, one of the new commissions of GB 11. This work comprises a series of rock characters inspired by the artificial nature and rock fixtures in the city of Gwangju. In Gwangju, as well as in many o

August 4, 2016

A walk around an imaginary lake - curated walk July

Hainuwele myth of Kyungyang dike was the title of the path drawn by Nam Soo Kim (Choreography critic from Seoul), on this edition of the curated walks at Monthly Gathering. Walking around the half moon shaped Kyungyang lake in central Gwangju, which disappeared many decades ago, a group of 25 atten

August 2, 2016

Mundus Imaginalis - Maria Lind on the cheeky and imaginal institutional critique of Walid Raad

in Art Review January 2016 "Have you ever heard of a world that exists between the natural and the spiritual worlds? One that mediates between sensory reality and the mystical realm of the divine? This intermediate world welcomes imaginative consciousness and allows cognitive imagination to thriv

August 2, 2016

Dirty Fingers, Sticky Shoes - Maria Lind on Nadia Belerique

Maria Lind on the return of the artist’s hand in post-Internet art, from Art review October 2015 issue "There is a steep increase in traces of sticky fingers on contemporary art. Especially in the art that has been placed under the rather strange label of ‘post-Internet’. Those traces are

August 2, 2016

Networked Nations

In the second of her ‘Gwangju Series’, the biennale’s artistic director, Maria Lind, looks at an idea of homeland as a distributed network. In Art Review April 2016

July 12, 2016

Maria Lind in conversation with Joungmin Yi

Maria Lind in conversation with Joungmin Yi Kaleidoscope Magazine

June 29, 2016

Donate your books:

We are creating an art and theory book collection for Mite-Ugro project space, and ask our friends and colleagues to bring/send publications. The books will be collected and registered in an online database (Blog) at Mite-Ugro, with titles translated into Korean. After one year the collection wo

June 29, 2016

Maria Lind on Jeamin Cha's work in Art Review, May issue

"There is no lack of traumatic events, big and small, in the world.Both today and through history. Thirty-one people killed in the recent Brussels bombings and yesterday 60 casualties in a Lahore park, most of them women and children. Not to speak of the innumerable cases – most of them likely to

May 31, 2016

Program of events at Nokdu Bookshop for the Living and the Dead

Monday 29 August 15:00–17:30 Lectures by Dora García and Kim Sang-yoon on the Nokdu bookstore project and a conversation moderated by Professor Seo Ki Moon, as part of Infra-School at Chonnam University College of Art, 77 Yongbong-ro, Buk-gu, Gwangju Tuesday 30 August 14:00–18:00

April 30, 2016

Talk at Nuribom Community Center

Saturday 3 September 5pm at Nuribom Community Center parallel to Apolonija Sustersic and Dari Bae's program Elke Krasny is a curator, cultural theorist, and writer. She is professor at the Academy of Fine Arts Vienna, Austria. Her theoretical and curatorial work is firmly rooted in socially eng

April 30, 2016

'Information Skies' premiere online

'Information Skies' a GB11 new commission by Metahaven will premiere online this Thursday 1September at 1pm Korean time at informationskies.com

April 30, 2016

'Lament of the Newt'

Fernando Garcia-Dory is presenting a performance at the Hansaebong Agriculture & Eco-Park, as his new commission to GB11. Performance hours: September 3rd 16:30–17:30 / 18:30–19:30 Sunday 4th 17:00–18:00 address: at Hansaebong Agriculture & Eco-Park, 932-1 Ilkok-dong, Buk-gu, Gwang

April 29, 2016

Curated Walk in May as part of the Monthly Gathering

Every month, as part of the Monthly Gathering, practitioners from various discipline such as sociology, history, urban studies curate different walking paths through the city and suburbs to experience and engage with other urgencies in Gwangju city. So far it has been transformative experience for t

March 14, 2016

Monthly Gathering - Curated walk September

Artist in Residency Bernd Krauss was leading this Month's edition of curated walk, in the Mudeung area.

March 6, 2016

Fernando Garcia-Dory's

The collective performance and agricultural ritual "Lament of the Newt" (2016) by Fernando Garcia-Dory was presented last weekend in Gwangju. In collaboration with DureNale from Hansaebong Dure, Hee-Sang Noh, Mi-ja Park, Eun-Sil Jeong, You-kyeung Cho, Seon-nim Kim, and Young-dae Kim, and co-ordinate

March 6, 2016

May Mothers and Bik Van der Pol

Every Monday and Wednesday from 11:00-12:00 and 13:30-14:30 the May Mothers gather for exercise and leisure activities at Bik Van der Pol’s installation "How Does a Straight Line Feel?" (new commission 2016) at the Biennale exhibition hall (Gallery 3).

March 6, 2016

Monthly Gathering - September

The next Monthly Gathering starts this week. Program: Thursday 8 September 16:00 – 17:00 The Art Work in Focus group discussion of Medium Earth by The Otolith Group. At Biennale Exhibition Hall (Gallery 2) Friday 9 September 16:00 – 17:00 The Art Work in Focus group discussion of

Uninhabitable spaces for contemporary art - Céline Condorelli in conversation with Nikki Kane and Christine Langinauer (CuratorLab)

For her 11th Gwangju Biennale commission, artist Céline Condorelli has occupied in-between spaces in the exhibition areas, a balcony and an entryway between galleries in the Biennale Hall. Here, she presented two of three new works made for the Biennale, each of which creates an active, ‘living’ environment in itself, and commenting at the same time on the history of exhibitions.

Christine Langinauer: One of your pieces for the Biennale (Corps á Corps [Head On] (2016)), takes the form of a round, sculptural seat surrounded by plants on the balcony space – could you tell us about the thinking behind this work?

Céline Condorelli: Plants, benches and other resting places used to decorate galleries until the sixties when they were gradually removed. This is really a piece that addresses this, and the idea of what is a habitable space and the fact that spaces for culture, and spaces for contemporary art especially, have become uninhabitable. It is really like a resting area, it is not more complicated than that. Of course it also addresses the history of the deletion of the human body and anything that is alive from the exhibition context.

Nikki Kane: Your second piece (Á Droite á Gauche (Sans Lunettes) [On the Right and on the Left (Without Glasses)] (2016)), is also located outside of the ‘gallery’ spaces and includes thirty fans connected and secured to the ceiling, speaking to this ‘liveness’ again. Could you tell us about this piece?

CC: The fan piece addresses that [the deletion of anything alive] in a different way through thinking about infrastructure. The infrastructure of a museum is something you know that you should not normally look at, and so you can delete it from your mind. I am interested in making sculptures that are always dependent on other things, that are totally non-autonomous. So the fans are obviously dependent on electricity, they are connected to all the lights and everything else, and the plant piece is of course dependent on care – nobody is watering the plants so once I leave I am sure they will die – but you know the idea of curation is about care [derived from the latin verb cūrāre = to take care], and you take care of artworks in different ways.

CL: You created a third piece for the Biennale, and although this is not installed, it would be interesting to hear about this work and how it connects to the other two pieces.

CC: The third piece is a sound environment, trying to tie together the gallery. Museums are some of the most silent spaces in the city, which is incredibly intimidating, so the soundtrack is also about making something habitable. The soundtrack was made initially using a series of artworks I gave to musicians to play with, in a space of the same size elsewhere, so they are artworks as instruments. Then I added some recordings that I made throughout the city, so it was about integrating the exhibition into the city and into the idea of function.

NK: I came to your work through some of your writing on friendship, support and infrastucture, before seeing any of your sculptural pieces. I wonder how you relate these different approaches in your work, and if you think of them quite separately or as parts of a whole practice?

CC: I think a lot of people struggle to put together practices that take place in different mediums, I realised that I don’t have this problem actually. But I really think that mediums are appropriate, necessary, and exploring something like friendship required writings in a way. But I’ve done lots of other things, I’ve made music, I’ve curated, I teach, like many people. I really think that most artists’ practices take place across many different sites and mediums and ways to communicate and it would be almost impossible to piece them together unless you were to literally follow them around for several years, it’s just that most people tend to really separate them into categories. Teaching for instance is something that doesn’t appear on my exhibition list, but it’s hugely important to my practice and it’s something that takes place through a completely different medium. So for me it is a really question of responding to issues, and I respond with whatever tools I’ve got – sometimes it’s writing, sometimes it’s publishing. I am also one of the directors of an artist-run space [Eastside Projects in Birmingham] so there are things I can do there, that I can’t do in my sculptural practice. In the case of the friendship project, and in the case of Support Structures, I think it was a case of discovering something that I’m interested in that is so big, that it was not just a question of making a sculpture, I needed to make a territory for myself, to somehow outline what the problem is, outline what I’m dealing with, and also ask people to help me do that. That is why I have a lot of conversations with philosophers or sociologists or friends or whatever that are included, which helped me to think through the set of issues within which I can then make some works. So it’s a question of scale, something like that. In the end, the friendship book for instance is almost like a reader to a whole set of works, just like Support Structures can be seen as a manual or a reader, it kind of accompanies the work – if you want to find out more you can, otherwise you can just sit on it [the bench] and it’s fine as well. But I try to address all these different ways of reading something.

I really think there are appropriate readings to particular circumstances, so if you’re in an exhibition I think you should be able to approach something in total ignorance and still get something out of it and then if you want to get a really discursive intellectual level, there should be that as well, but not necessarily for everybody and not necessarily at the same time. I try to not drown people in information, but then all this other stuff is also available – my books are available in the bookshop – I try to not impose too much reading and let things articulate themselves.

CL: As in the pieces in the Biennale, your works often address the context or site they are installed in – how do you approach these situations, and what is your process for developing works like these?

CC: I think it’s important to say that I don’t really make individual works, I have really long research projects and then they take place in different contexts. I think its very difficult to do serious research when you are just doing one show after another so I try to construct my work in a way that one would construct a series of chapters. This is as much for my own sanity as a pragmatic use of my resources, you know I get little bits of money and commissions, so instead of thinking of everything as totally self sufficient, I just try and construct all the different parts of an argument and explore it until it has exhausted itself. The plant piece in the Biennale for instance, I think of it as a prototype; it’s been co-produced with the Institute of Modern Art (IMA) in Brisbane and the idea is to make a permanent artwork there in the shape of a garden. The reason why the round bench here is made out of these materials [the circular bench is made out of painted steel and plastic], is that these are the materials used to cast concrete, so for the next part I will use them to cast the concrete and then take them off, and the concrete will stay and have plants growing on top. So it is a piece but also like a tool or element to make the next thing, but it also means I can look at it now and say "oh it’s the right scale" or "it’s the wrong scale". In some ways that is the only way that I can do things because I’m not going to have a new idea every month. Everybody has got this problem, you just get so exhausted when you have to respond to new contexts all the time, so you need to be able to do some of that while you have your own thing that sort of links through, like your own direction. Your interests are limited after all, you know you can be interested in lots of things, but they always come back to a few main issues.

NK: It feels like quite a curatorial approach in many ways, bringing together different forms of practice and working collaboratively.

CC: I think the curatorial is very interesting when you are dealing with relationships in and to the space. I decided to stop trying to define. Everyone goes through their own paths, but for me it meant that after being asked for so many years what it is that I was exactly – ‘are you are an architect, are you an artist?’ – it’s the wrong question. It’s not a question of having an answer, it’s literally the wrong question, because of course you are all of these things at the same time just like you are also a daughter, or a mother, or a girlfriend, a cook, or whatever you might be at the same time, its just different aspects of your working life.