(GANGWON INTERNATIONAL BIENNALE 2018)
|Theme||The Dictionary of Evil|
|Schedule||3 Feb 2018 (Sat) - 18 Mar 2018 (Sun) / 44 days
- Opening Ceremony: 3 Feb 2018 (Sat) 14:00 / Press Preview 2 Feb 2018 (Fri) 13:00
※ Olympic Winter Games PyeongChang 2018 (9 - 25 Feb 2018) / PyeongChang 2018 Paralympic Winter Games (9 - 15 Mar 2018)
|Venue:||Gangneung Green City Experience Center (E-ZEN) Nanseolheon-ro 131,?angneung-si,?angwon-do, Republic of Korea?|
|Composition of the Event||-Thematic Exhibition: 110 artworks from 58 teams of domestic & foreign contemporary artists from 23 countries
-Related Program: Opening ceremony, Peace Project 155, portfolio review and experience
-Academic Program : Biennale Conversation I, II
Introduction of the posterThe ‘Mobius Strip’ symbolizes that all the tragedies in the 100 years of modern history are not discontinued or stopped, but repeated infinitely, and circulating consistently. Among them, the curved surface that is impossible to distinguish the front and rear side refers to the reality of ambiguity in distinguishing ‘Evil’ and ‘Good’, and the single boundary existing in the ‘Mobius Strip’ specifies that even modern period where the true value and dignity of mankind are being diluted, there can be new conversion, change, opportunity and direction that can be set.
Theme of the Event : 악(惡)의 사전(辭典)
The Dictionary of Evil
“The Dictionary of Evil,” theme of the Gangwon International Biennale 2018, presents the efforts made by artists to observe the special or universal evils of our society, against a backdrop of the moral consciousness of human beings in an endless present, rather than a religious or ethical perspective on the “lack of good.” These efforts are grounded in the fundamental role of the Biennale and the artist’s duty to question the essence and role of art in society through artistic language. The Biennale strategically presents the “artistic need” for a humane response to contemporary issues, where conscience crosses absence of mind, while also discussing, from a highly realistic perspective, the issues, and discourses that contemporary art must address.
The exhibition represents 100 years of modern history as a “dictionary,” and connects the past and present through a “Mobius strip” that indicates circularity instead of beginnings and ends. In this time and space, artists examine themselves and consider the lack of good or evil behavior, and the history of disasters and catastrophes enacted for various reasons.
The Biennale macroscopically and microscopically reflects on the “faces of evil” from the perspective of artists, who do not accept the co-prosperity and coexistence of humanity. These faces of evil include environmental changes to the Earth, which is becoming less and less suitable as a home for humanity, as well as the actual and conceptual migration and escape confronting humans in the era of capitalism, the strongest power of this time. They include various forms of violence and chauvinism carried out in political, economic, and social contexts, as well as the egoism and pure blood-ism underpinning powerful, new hierarchies and forms of imperialism that have become stronger than ever. They also include war and refugees, which are the products of ideologies, conflicts between the leisure class and the working class, and a society in which biological differences have become a source of discrimination.
However, this exhibition is not just a “list of evils.” Although it is likely to be misunderstood, it does not reproduce the pain of others by visualizing or visually appropriating evil. Rather, it looks back on situations and events caused by certain realistic “evils” that we cannot properly accept because we lack the sensitivity to perceive their essential qualities, which include the missing value of life amidst the common problems of mankind, deteriorating quality of life, social collapse, damage to human dignity, and wealth inequality. It is more a process of connecting doubts about the existence of unusual elements that enter daily life (terror and fear, daily life of involuntary circulation).
In other words, “The Dictionary of Evil” does not attempt to visualize forms of evils, but instead aims to reconsider our thoughts about and awareness of evil by describing situations caused by evil (anonymous bodies sacrificed during known or suspected events). It depicts a situation in which we can no longer focus on evil without thinking about the history triggered by the “evil,” when “evil” has become “beyond evil” (in a state where evil cannot be acknowledged, due to its universality) and can no longer be distinguished from humanism.
Of course, seen from the outside, “The Dictionary of Evil” is a visual art project about evil, accompanied by descriptions (in different forms by different artists), and images that cannot be translated into text. It questions how experiences and memories of evil can be reproduced, from the perspective of artists, while also seeking real freedom, in the true sense, by breaking free from our usual reality of non-perception and the pain that is barely acknowledged.
This is the reality we must face when attempting to create a “sound society,” rather than an object that must be abstracted or ideated. Its substance, rather than its exterior, must be drawn from the artist’s perspective. These images are thus very different from suggestive pictures, pornographic viewpoints, or voyeuristic symbols. The “sound society” is not a mechanical human structure, but an uncomfortable keyword designed to produce a change in perception; its ultimate goal is to review the direction of intellectual introspection.
“The Dictionary of Evil,” the theme of the Gangwon International Biennale 2018, ultimately dreams of directly facing and becoming free from painful and tragic history, contemporary reality, and pain itself, including fear, horror, anger, and mourning. The aim of this exhibition is to question human decency and “human values.” In other words, it adopts a humanist approach. This is why “The Dictionary of Evil” sets out to consider, through the Gangwon International Biennale, international, artistic conversations about the good of deficiency, the common good that can prepare us for a better future and protect all our lives. It is aligned with all moral, social, and depersonalized interests that focus on “recovering human nature” through human reason and conscience, as well as taking the time to consider human pain.
Gangwon International Biennale fundamentally comforts the vulnerability of the weak, who have been pillaged by historical and empirical evils, as well as minority groups and alienated people. As briefly mentioned above, the theme, “Dictionary of Evil,” is based on existent threats, as well as refugees, war, famine, disasters, and alienation. It is the duty and responsibility of art not to give up. It is an act of willpower to improve the values of life, and a solemn message about the impossibility of obtaining independent otherness. It also reflects our view of why and for whom this Gangwon International Biennale is being held.
Introduction of Artistic Director
|Artistic Director||HONG Kyoung-Han|
|소개||HONG Kyoung-Han is an art critic who has held the position of editor-in-chief for a major art journal in Korea, including the Misulsegye, Public Art, and Kyunghyang article. Hong is renowned for having a broad perspective, experience and knowledge of Korean contemporary art. Hong is a prominent figure in the art world of Korea, having served as an advisor of the MMCA and a committee member of the Busan Biennale.|
|YOO Lee||Lee Yoo is a curator and researcher, and previously Yoo was coordinator of Gwangju Biennale 2016 and curator of Korean Culture Center in Egypt(2013-2015), during which time she curated 'Modern Nature'(Museum of Modern Egyptian Art, Cairo) and 'A Tale of Two Cities'(Saad Zaghloul Cultural Center, Cairo). Yoo has many years of experience in education and artist residency program in museums and art fields. She majored in Art History in the University of Minneosta and in Curating Studies in Hongik University.|
|LEE Hoon-Suk||LEE Hoon-Suk expects to receive his Ph.D. from Moscow State University, and his dissertation is on the existential issues of mid-20th century Russian art. Lee served as a curator at the special exhibition of the Busan Biennale and an assistant curator of the Moscow Biennale.|
|CHO Sook-Hyun||CHO Sook-Hyun is a former journalist of an art magazine, and now works as an exhibition planner and writer in the field. Cho wrote her master’s degree dissertation in community art at Yonsei University. Cho wrote a book in 2015 about art residence in Europe, and wrote another book in 2016 about indie art scenes in Seoul.|