APR 7
JUL 9
For the 14th Gwangju Biennale, artistic director Sook-Kyung Lee took inspiration from the for the event’s theme, “soft (2023), for instance, reinterpreted the political history of Korean artists through their production of large woodcutprint banners reminiscent of imagery from democratic student movements. This new installation was complemented by its reference, Minjung art pioneer Oh Yoon’s iconic woodcuts critiquing Korea’s postwar society, such as (1984). Meanwhile, Japanese artist Meiro Koizumi’s (2023), a multichannel video installation featuring footage from an acting workshop he conducted for Koryoin youth (a Korean minority group), evoked the Biennale’s inclusion of experimental, political works. The convergence of the mystical and came alive in many works, including Taiki Sakpisit’s video of a psychic convening with deceased Thai protestors in (2023) and Robert Zhao Renhui’s evocation of an unnamed stream in (2023).
