The 14th Gwangju Biennale in Korea will close the following Sunday.

Gwangju Biennale 2023

On Sunday, the 14th Biennial in Gwangju, Korea, will come to a close. It was a unique biennial that might signal a shift in how international exhibitions are conducted. Unusual in that it concentrates on strong critique of the effects of colonialism, on healing, and on community, in contrast to so many contemporary exhibitions.

From the Daoist literature Dao De Jing, the phrase “soft and week like water” was adopted as the title, which speaks for itself. In order to invoke harmony, healing, and togetherness rather than the spectacular, provocative, and critical, curator Sook-Kyung Lee used water as a metaphor since it is a flowing element that can “embrace” paradoxes. Although they did not hesitate to exhibit a whole series of works that dealt with very combustible subjects, they were successful.

The bulk of the 79 artists, including several from Korea, were from South Asia. Despite the fact that digital and computer-aided art dominates Korean contemporary art, this biennial choose to include paintings, delicate sketches, and handcrafted items. 

The South African artist and healer Buhlebezwe Siwani’s huge work, which served as the exhibition’s centerpiece, featured braided ropes hanging from the ceiling, soil, and a pool of water into which a video projection was mirrored. The display paid honor to the healing abilities of African women who, like the artist, combine Christian faith with African mysticism.

In addition to its handicrafts, the city of Gwangju is renowned for a historic revolt. Here, large-scale protests first started in 1980 and were ruthlessly put down. The precise number of fatalities is yet unknown. However, this rebellion significantly aided in the nation’s democracy. The curator felt it was crucial to emphasize the ability of art to withstand.

The Malaysian group Pangrok Sulap took on the demonstrations and used images and big woodcuts that were hung in the room to depict them. Aliza Nisenbaum, a Mexican painter, also created New Objectivity-inspired works about this occasion. These depictions of the performance “Someday in Spring” by the local group Shin-myeong, which revived traditional mask theater and focused on the plight of the kin of those killed during the protests, are examples of her work.

Numerous pieces dealt with rituals, such as the container installation by Mexican artist Noé Martnez, who, as a Huastec descendent, honored his ancestors by performing ceremonial actions during the opening. Edgar Calel, a Guatemalan artist, put fruit and vegetables in his artwork in line with ritual tradition as a way to express gratitude to his ancestors.

Cultural and ethnic identity were topics covered in several works. The poet and Abu Dhabi resident Taus Makhacheva questioned the acceptability of non-Russian culture in the Soviet Union in her video work by citing the example of her Dagestani grandpa. A group of Ukrainian exiles residing in Korea are the subjects of an excellent documentary by the Japanese artist Meiro Koizumi that explores the identity loss experienced by the Korean minority that Stalin forcibly exiled to Kazakhstan.  

The enormous paintings of Thai artist Thasnai Sethaseree, which resemble abstract expressionist works but are actually collages of color spots and photographs, should also be mentioned.

The multinational pavilions added to the richness of this Biennale, which already had a lot to offer in terms of variety. Her strategy went beyond just contesting the idea of art in Europe. She was also able to expand preconceived notions and contemplate thoughtfully about the status of the world.

14th Gwangju Biennale

Source: Noemi Smolik/TAGESSPIEGEL