스킵네비게이션

The Biennale Sets Sail with Public Viewing Open from August 17
Open from August 17 until October 20, the Busan Biennale Organizing Committee presents “Seeing in the Dark”, an exhibition co-curated by Vera Mey and Philippe Pirotte, which is held across four venues in Busan’s historic downtown area: the Busan Museum of Contemporary Art, the Busan Modern & Contemporary History Museum, HANSUNG1918, and Choryang House.

The Busan Biennale 2024 features 349 works by 62 artists and collectives (78 artists total) from 36 countries navigating the theme of darkness.
The theme of this year’s Biennale, “Seeing in the Dark”, is paradoxical because it addresses what we cannot see in the darkness. 'Darkness' symbolizes the predicaments we face, confronting dark histories and fears of navigating unknown territories. It signifies the search for alternative ways to view the world and find new directions amidst the chaos. Co-curators Vera Mey and Philippe Pirotte explain that the theme draws inspiration from the communal living of pirates and the enlightenment sought in Buddhist practices. They see a reflection of Busan in the way people from various cultures and backgrounds interact and live together.
In this context, the participating artists come from a wide range of unique backgrounds and fields, including writers, teachers, instrument makers, doctors, DJs, interdisciplinary researchers, and religious figures – all showcasing an array of cultures and experiences. With artists hailing from 36 countries and territories, including the Caribbean, Africa, the Middle East, and over 15 Asian countries, the exhibition provides an opportunity for visitors to experience a variety of cultures and perspectives united under one theme.

Highlight Artworks:
At the Busan Museum of Contemporary Art, visitors first encounter a large transmission tower sculpture at the entrance titled Dub Plants (2024). Using vintage speakers suspended from an 8-meter tall bamboo structure, media artist Joe Namy (USA) broadcasts audio representing dreams of growth and healing. As visitors move from the lobby into the exhibition space, they are met by Wasp Nest (2024), a work by Carla Arocha (Venezuela) & Stéphane Schraenen (Belgium). This piece, part of the artists’ ‘Marauders’ series in which they depict morally ambiguous entities such as thieves, pirates, or wasps, features hundreds of window-like Plexiglass sculptures that reflect variations of light, engulfing the exhibition space and creating a sense of unease. In the lower-level galleries, Ghanaian artist Tracy Naa Koshie Thompson compares and blends Ghanaian Waakye and Korean Kimchi in Kimchi-Waakye (2024), recontextualizing the visual properties of each food. The second-floor exhibition showcases the work of the late Bahc Yiso (South Korea), who participated in the Busan Biennale 2000 before his passing. Based on the artist’s sketches, Untitled (Today) (2000/2024) features two surveillance cameras installed outside the exhibition space and a projector inside, tracking the path of the sun.

At the Busan Modern & Contemporary History Museum, visitors can experience the work of Cha Ji Ryang (South Korea). Like everything being seen has a bow (2024) invites audiences into a sensual and dreamlike personal space that represents the artist's experience of the phenomena between dream and wakefulness.
HANSUNG1918, having been transformed into a specialized sound project exhibition space, hosted several programs to celebrate the opening. Visitors can discover immersive works such as Nika Dubrovsky’s (USA) public learning space Fight Club (2022). On Sunday, August 18, the Biennale hosted a two-hour lecture and discussion session featuring Dubrovsky. The session included a dialogue with Canadian blogger Cory Doctorow on topics related to creative sharing, freedom of expression, privacy protection, and information transparency. Following this, a lineup of artists who traveled to Korea for the Busan Biennale 2024 presented live DJ performances.
At Choryang House, an exhibition space housed in a traditional Busan residence, Eugene Jung’s (South Korea) work focusing on contemporary disasters is presented. Fortune Earth (2022) features a globe, symbolizing the antithesis of utopia and signifying the onset of disaster, shattered into pieces.

Exhibition-Related Programs:
The Busan Biennale 2024 is enriched by four exhibition-related programs: ‘Palaver in the Dark’, ‘Playing in the Dark’, ‘Practice in the Dark’, and a Special Program with Panstar Cruise. These programs are designed to extend the exhibition into various engaging formats, encompassing artistic practice and research.

‘Palaver in the Dark’ features a series of talks with participating artists including Song Cheon (South Korea), Ishikawa Mao (Japan), and Stefano Harney with Zun Lee (USA & Canada). For detailed information and registration, running from August 17 through September, please visit the official website.
Over August 17 and 18, ‘Playing in the Dark’ showcased performances by artists Lin Chi-Wei (Taiwan), Layne Waerea (New Zealand), and Rajyashri Goody (India/UK) at the Busan Museum of Modern Art. The ‘Side B’ part of the program at HANSUNG1918 includes live performances and DJ sets, which are also freely accessible.
‘Practice in the Dark’ consists of workshops, including activities that engage directly with artworks by HongLee Hyunsook (South Korea), awaken audiences’ senses in the dark, or enjoy traditional Bangladeshi desserts in ‘Sharing Shinni’ with Ashfika Rahman (Bangladesh). Visitors are invited to directly participate in the work of Golrokh Nafisi and Ahmadali Kadivar (Iran and the Netherlands) in ‘Continuous Cities’. Moreover, a ‘Hand-made Instrument Making’ workshop for children is being held (pre-registration required via official website).

To highlight Busan’s identity and urban landscape, the Biennale has also organized a special program aboard a large cruise ship traveling between Busan and Osaka. Designed for passengers travelling on the PanStar Cruise, Layne Waerea, Cha Ji Ryang, Golrokh Nafisi with Ahmadali Kadivar, and Chang Wen-Hsuan & Writing FACTory X RRD (Taiwan & Mexico) present installations in various spaces on the ship, such as lounges and lobbies, as well as video and sound works.
Finally, to aid visitors' understanding, exhibition guides are available, as well as regular tours, tours for children, and sign language tours. For detailed schedules, participation information, and registration, please visit the official website.

Busan Biennale 2024 Opening Ceremony, Courtesy of Busan Biennale Organizing Committee

Opening Ceremony
The Busan Biennale 2024 ‘set sail’ with its opening ceremony on August 16, at the Busan Museum of Contemporary Art’s outdoor stage. The ceremony commenced with an opening speech from Organizing Committee Chairman Heong-Joon Park, followed by remarks from co-curators Vera Mey and Philippe Pirotte about the exhibition, and an introduction of the participating artists.