The 9th Gwangju Biennale came to an end with Asia’s biggest contemporary art event being lauded for adopting thoughtful and provocative approaches to art.

Artworks reached out to viewers, shedding light on global social and political issues, providing moments of self-reflection to viewers, and bridging the gap between contemporary art and ordinary citizens.

Some works reflected on the founding spirit of the biennale, which is in the memory of the 1980 civil uprising for democratization.

Korean artist Noh Sun-tag paid tribute to victims of the democratization movement in his “Forgetting Machines I,” which consisted of funerary photographic portraits retaken from the original photos put in front of their graves. With the weathered portraits that have been exposed to the elements for more than 20 years, it attempts to reveal how we largely forget the event despite annual commemorations.

Mexican artist Pedro Reyes focused on the weapons industry behind world conflicts and wars, and tried to make the deadly weapons into something “beautiful.” As the artist aimed at showing “how an agent of death can become an agent of life,” he transformed weapons into musical instruments and staged a performance in front of audience.

Self-reflection

Being caught up in fast-changing society, viewers found artworks that highlight ordinary episodes in daily life and find meaning of relaxation.

Chinese poet and novelist Han Dong recited poems that depict ordinary incidents in everyday life and published a book titled “Born Again.”

Korean sculptor Ahn Kyu-chul narrates missing moments of our life by making images and objects, breaking them into fragments, and finally scattering the pieces all over the city of Gwangju with notes that ask the receivers to return the pieces to a certain address. The artist then put together the returned pieces and made new forms. His new approach to sculpture ― deconstruction and re-creation ― was considered fresh by viewers. The missing pieces left somewhere in the city also symbolized the victims of the 1980 democratic uprising who remain unidentified to date.

Participatory art

Argentinean artist Rirkrit Tiravanija’s ping pong tables, which were installed at the plaza of the biennale exhibition venue, attracted participation by many viewers, especially students.

The ping pong tables made with reflected mirrors allowed the audience to participate not only in playing ping pong with friends, but also made the players look at their own reflections.

New Zealand artist Scott Eady gave out bicycles he recycled from bicycles donated by Gwangju citizens back to the people as part of his “100 Bikes Project.” Eady transformed the second-hand bicycles into colorfully painted ones and allowed the children who visited the exhibition to ride.

Visual art that stimulates imagination

In “Twelve Sculptural Recipes” Korean artist Kim Beom turned upside down the usual concepts and images of familiar objects. The profits from selling the intriguing chicken-shaped sculptures are returned as coupons for free chicken for Gwangju citizens and proceeds are donated to charity organizations.

By Lee Woo-young  (wylee@heraldcorp.com)