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

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

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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 and empties every few blocks verse a crowded underground, may not seem like a major perspective shift to some. Yet these increments vary how embedded we temporarily become in a culture or how isolated we elect to remain. The speed which we take whether by foot or by bicycle, whether we use a paper map of the city center landmarks, the GPS on our phone, or if we simply rely on an intuitive sense of direction mixed with stopping locals for directions, all modifies our contact with the unfamiliar. We may seek out the peripheral and alternative or simply stick to the globalized corporate mainstream, the Unesco site assessment of world heritage, and the tourist board’s local, regional, and national image-making. Each decision of how, what, and where determines positions us personally, even politically within that potential communication. These choices affect our impressions and sets us on the path, one of appreciation or judgment. Our own behavior within that context can also inversely be read. The same can be said concerning our home environments. How do we perceive, explore, negotiate, reimagine, and reconfigure our surroundings, both foreign and familiar? How much does how we travel reflect how we live?

The two separate installations by Bernd Krauß are presented in both the central Biennale space as well as the Mudeung Museum of Contemporary Art, at the foot of the Mudeung mountains. Each installation consists of a large variety of collected objects and materials found and sourced in Gwangju over the course of several weeks prior to the opening of the Biennale. The only elements not derived from the environment are the wooden sculptures whittled by Krauß. Additionally, the shelf element was set on wheels and itself wandered through the exhibition halls in the weeks after the opening. A wig-like segment travelled even further afield.

This accumulation of objects, which is not an uncommon practice for installation-making, in one sense could have been produced anywhere and at the same time absolutely ONLY in Gwangju. My experience with T.U.N. was that I sporadically came across components of Krauß’s work as I myself explored Gwangju. Which lead me to the belief that Krauß is a natural interpreter of things discarded, not seen, and forgotten, and by this he stimulates our perception of our environment. Krauß, from my estimation, does not consciously collect as can be the case with research-based or theory-derived construction, and yet by contrast he also does not operate strictly subconsciously, as in an impulsive or intuitive selection. Krauß’s process is more of a movement, without a concrete beginning or end. The objects artists gravitate towards can be considered a montage that become in a sense a decollage of each artists' psyche. We do experience a thought process when walking through Krauß’s work, however it is not linear, chronological, or obviously psychological. His approach is not conventionally methodological, nor would I say that he embodies the loose percepts of a flaneur in any intentional sense. Perhaps if it were necessary to define his activity leading to an artwork, it could be best described as a type of personal peregrination. Krauß’s wandering is the predominant tool in this work, through his comings and goings, he becomes personally integrated, yet not bound. The transposition and actualization of the landscape is, in a sense, as Krauß puts it, the “driving engine” that calls Krauß to pick up parts of his environment. The subsequent change of location of these elements becomes a material part of the whole. Krauß is not metered in this activity, though he recognizes a starting point that creates the frame in order to bind artifacts together. In the case of each installation at the Biennale it was a climbing rope in one installation and a yellow plastic chain link in the other. These flexible lines, a type of repetitive mark-marking allows for an organizational form to place things. It is also arguable that the wooden whittled figures are additional “stabilizing moments for your own dynamic” as Krauß suggests. And yet he admits that these constants could easily be replaced by another form. That their function is only to create “stations” or even obstacles for the “parcour”.
Some installation artists exhaustively plan and orchestrate their works, while others base their selection process on automatic principles such have been historically exhibited in Surrealism and the Dada movement, which embraced All at rapid speeds, unfettered, without categorization or restriction. Krauß is unique to this, as he is a harvester of his immediate environment, the cultivation takes place in the exhibition space. The climbing rope, the yellow chain, the exhibition rooms themselves, those working within the environment, all become part of the guideline for growth. They are the vehicle that allow for accessibilities, creating didactic scenarios, improvisations.

Krauß states:

The exhibition is a tool of a practice. For you it’s the endpoint now, when you leave the space. If you look at documentation, you can follow that, but I think you don’t have to. I don’t think we are yet post-internet, but I think that its a really nice term, that we can actually look back at this former avant-garde, the process-oriented in a much more pragmatic way. I can change things and I don’t have to run around with the term of process, because I can just feed it into a kind of a live stream….It has a surface that can be looked at from the outside. I think that complicates things nicely…. A lot of avant-garde things disappeared and a lot of things fell back into kind of old conservatisms, instead of actually keeping these things alive, but proving what they can do, then these avant-gardes are actually relevant, because they are applied then.


The loose reenactment of near-forgotten avant-garde practice can be found throughout Krauß’s work, though not intentionally. Perhaps his most important work, as it has informed his art since 1980, and can be argued to be the core of his oeuvre, is his online newspaper Der Riercher, which makes a physical appearance in T.U.N. Der Riercher began as a collaborative periodical which later split into two solo projects, one Hamburg-based and the other Berlin-based. As Krauß describes, the publication fulfills the minimum requirements of “what a newspaper could be”. It is normally two A4 sheets folded in half, and consists of notations, gossip, rumors, stories, and found material. It’s essentially a constant exhibition space for Krauß. Der Riercher acts as that “live-stream”, allowing the flexibility of change without dismissive labels. Krauß states that “In Der Riercher everything is integrated”.

The other platform, which is present in T.U.N., which has been 4 years in the making, is a more private space, though it is intermittently documented and publicly distributed. Krauß’s garden, functions as another microcosm for experimentation, which informs his installations.

While looking at some photos, Krauß explains:

It allows you different things, and it brings things into focus you didn’t learn before. You buy a collection of frogs, first you build the pond, then a few weeks later you buy them, and then suddenly there are real frogs in the pond, these are things also to be watched. It becomes a world, and I think that is what I’m interested in to make exhibition or artistic practice, if possible as complex as reality.


The steps that Krauß takes in his conceptualizing has a consistency of curiosity which is a lens in which he sees his environment through. After the interview with Krauß, we walked, missed the bus, walked some more. Contemplated cutting through someone’s garden, hopped on a random bus that was going in the direction that we wanted to go, and then when in the vicinity of our destination, we jumped off and hailed a cab. T.U.N. is how he understood Gwangju. It invites us to move through the city differently, to alter our path.