The 15th edition of the Gwangju Biennale, Asia’s largest contemporary art event, opened on September 7, 2024, in South Korea and will run until December 1. Titled “Pansori,” after the traditional Korean folk opera genre, this year’s exhibition weaves together themes of sound, ecological balance, and the struggles of marginalized voices.
Curated by Nicolas Bourriaud, the show explores how diverse perspectives—human and non-human—can coexist in a complex world. One of the standout works, Peter Buggenhout’s The Blind Leading the Blind #91 (2018-2023), creates a powerful narrative with its large, chaotic assemblage of household waste and organic materials, evoking the idea of human-made detritus blending into nature.
Other highlights include Below (2024) by Andrius Arutiunian, featuring monstrous figures made of bitumen singing in a forgotten language, and The Return: Finally Free (2024) by Hayden Dunham, an innovative piece driven by a material based on activated charcoal, which evolves naturally without artificial intelligence.
Jakob Kudsk Steensen’s Berl-Berl (2021-) immerses viewers in the slow, meditative movement of a swamp, accompanied by ASMR soundscapes that enhance the sensory experience. Meanwhile, Jura Shust’s Neophyte draws from ancient Slavic myths, while Who is Invited in the City? (2024) by Amol K. Patil pays tribute to Dalit poets expelled from Mumbai.
Though the biennale is filled with compelling works, some elements fall into predictable patterns, with many pieces reflecting social justice themes. While Bourriaud’s effort to create an all-encompassing exhibition is admirable, the show occasionally feels politically charged rather than a platform for fresh, diverse perspectives.
The first American Pavilion at Gwangju, curated by two immigrant curators, presents works by Asian and Middle Eastern artists but is housed in a space dedicated to the tragic Gwangju massacre, leading to questions about its appropriateness.
Though filled with new commissions and contemporary artists, the biennale prompts reflection on the future of such large-scale art events, particularly their environmental impact and the echo chambers they can create within the art world.
READ MORE: