The Busan Biennale is set to unfold its latest chapter from August 17 to October 20, 2024. This event will transform Busan into a dynamic canvas, blending art with the cityscape for a unique experience. Biennale's history of transforming old buildings into places of art is a sight to behold, along with the presence of artists and curators worldwide, making it a global art scene for art lovers and experts. This year’s theme ‘Seeing in the Dark’ caught my attention due to its paradoxical character. To better understand the curatorial visions behind this event, I contacted Vera Mey and Philippe Pirotte, the esteemed co-artistic directors, and Kim Seong-Youn, the Executive Director of Busan Biennale, for an exclusive interview. The following excerpt from the written interview conducted from July 11 to August 2, not only sheds light on the Biennale's artistic direction but also reflects the teamwork behind it.
![](/file/thumbnail.do?img_physical=20247943531813.jpg)
Please introduce yourselves.
Vera Mey: I am an art historian and curator with a PhD from SOAS, University of London. My expertise lies in Southeast Asian modern and contemporary art. My curatorial experience includes the foundational team of NTU Centre for Contemporary Art Singapore and the notable ‘Sunshower: Contemporary Art from Southeast Asia 1980s to now’ exhibition in Tokyo. Currently based in London, I collaborate with contemporary artists globally.
Philippe Pirotte: I am an Art History professor at Staedelschule Frankfurt and an independent curator. I served on the Documenta-Commission from 2019 to 2022, which selected Ruangrupa for Documenta fifteen's artistic direction in 2022. Recently, I curated Melati Suryodarmo's exhibition at the Bonnefanten Museum and am developing ‘Spectres of Bandung,’ a major exhibition centered on the 1955 Bandung Conference's cultural impact. My curatorial experience includes directing the 2016 La Biennale de Montréal in Canada, the Jakarta Biennale in 2017, and ‘Arus Balik: from Below the Wind to Above the Wind and Back Again’ in Singapore (2019).
Kim Seong-Youn: I have been actively engaged in various non-profit art initiatives in Busan since 1999. Founding of ‘Bandee’, a hub for diverse exhibitions, and international residencies, and launching of Busan International Video Art Festival and a monthly art publication were some of the milestones in my career. I served as the Guest Curator of the Busan Biennale in 2010, the Visual Arts Director of the Moving Triennale in 2014, and the Executive Art Director of the PyeongChang Biennale in 2017. I also had the honor of being the first Director of the Museum of Contemporary Art Busan until 2022 and have been steering the Busan Biennale committee since 2019.
![](/file/thumbnail.do?img_physical=20247943629948.jpg)
Could you share with us your journey in the arts and how it has led you to become co-artistic directors for the Busan Biennale 2024?
Vera Mey: The Busan Biennale involved an open call for curators. I participated in the Gwangju Biennale International Curators Course in 2011, which was a very formative time for me and I have been curious to work in Korea on a large-scale exhibition project ever since.
Philippe Pirotte: I was an advisor for the last Busan Biennale curated by Haeju Kim in 2022, and was incited to do something in Busan again, as the city is extremely fascinating with its harbor and migration history. Luckily the organizers were interested in the project we proposed.
Could you elaborate on the inspiration behind the theme "Seeing in the Dark" and how it reflects the current global context?
Vera Mey and Philippe Pirotte: The 2024 edition of the Busan Biennale, called ‘Seeing in the Dark’ is imagined in the mental space between the notions of 'pirate enlightenment’ on one hand and ‘Buddhist Enlightenment’ on the other. We consider these spaces as offering an alternative to the demands for transparency by the surveillance-industrial complex. We see tactics of operating stealthily as part of ‘another tradition of cultural experiment’ through the idea of seeking alternative enlightenment movements.
The concept of "Pirate Utopia" and "Buddhist Temple" are intriguing aspects of this year's theme. How are these concepts explored and presented within the exhibition spaces?
Vera Mey: Pirate ships symbolize a complex system of representation, navigating the world beyond maritime boundaries. Historically, they were havens for marginalized individuals, including freed slaves and exiles, who collectively managed diverse languages and leadership structures in a perilous environment. This collective experience on pirate ships serves as a metaphor for aesthetic negotiation. Pirates' intentional lack of official records and their strategic use of rumors to cultivate a fierce reputation were defensive tactics. These practices challenge traditional enlightenment ideals, suggesting knowledge and existence can be achieved without full disclosure or surveillance, offering an alternative perspective on enlightenment that values obscurity and protection over transparency.
Philippe Pirotte: The Buddhist monastery is pivotal in connecting with Korean art history and serves as a platform to delve into significant Buddhist concepts like 'non-self' and the distinction between illusion and reality. It also inspires contemplation on Buddhist representations of other realms and enlightenment. The metaphor of 'seeing in the dark' symbolizes the overlooked, emphasizing the reliance on senses other than sight and the natural ability of night vision, which has been co-opted by surveillance technology. Our framework includes artists who explore maritime and Buddhist philosophical themes, as well as those creating sensory experiences beyond the visual, including sound and music.
Could you elaborate on the selection process for the artists and how their works resonate with the theme?
Vera Mey and Philippe Pirotte: Our selection of artists is driven by the immediacy and relevance of their work to both the art institution and the broader world, engaging with communities and sparking dialogue. We prioritize artists whose practices are timely or exhibit a refined sophistication that enriches the exhibition experience. The artworks we present are intentionally ambiguous, revealing as much as they conceal, and challenge the expectation of transparency. These pieces often intersect with journalism, activism, and community work, offering layered meanings that invite viewers to explore beyond conventional social constructs and envision new possibilities for the world.
![](/file/thumbnail.do?img_physical=2024794377545.jpg)
In what ways do the chosen venues, such as the Busan Museum of Contemporary Art and Choryang House, contribute to the narrative of the Biennale, with its exploration of darkness and enlightenment?
Vera Mey and Philippe Pirotte: Integrating exhibition venues into Busan's urban landscape is crucial, reflecting the city's rich, complex history and vibrant daily life. Our selection includes historical residences, former bank buildings significant to civil movements, and the Busan Museum of Contemporary Art, a center for art and environmental ecology. Central to the Biennale's engagement with Busan, venues like the culturally diverse Choryang area, the historically significant Busan Museum of History, and the continuity-offering Busan MoCA are chosen. Additionally, Hansung 1918 will host multimedia performances, and the Panstar Cruise will serve as a unique cross-cultural space between Busan and Osaka.
As the first joint-directors in the Biennale's history, how do you balance your personal artistic visions and how has your partnership influenced the direction and curation of the event?
Vera Mey and Philippe Pirotte: Biennials are now seen as collaborative platforms. Our shared research on the artistic and political confluence of cultural movements in Asia and Africa has led us to challenge the notion of solitary curation. Instead, we aim to engage diverse individuals in our exploration of ideas.
In what ways does the Biennale aim to foster a dialogue between the art, the audience, and the unique cultural landscape of Busan?
Kim Seong-Youn: The Busan Biennale exhibition is designed to reflect the city's identity and history by featuring local venues that showcase Busan's unique traits. Visitors can engage with Busan's culture and past through both the artworks on display and the city's historical sites.
With the shift towards digital and virtual experiences, how has the Busan Biennale adapted its approach to curating and presenting art?
Kim Seong-Youn: Despite the COVID-19 pandemic leading to numerous biennale cancellations, our exhibition launched on time and introduced multiple non-contact options for remote viewing. The exhibition's digital and virtual components, as well as its curation, change annually based on the director's vision and selected theme.
Could you share with us any educational or outreach programs that are part of the Biennale, and their goals in terms of community engagement and art education?
Kim Seong-Youn: We consistently engage locals and tourists with educational and interactive programs, address various interests. Recognizing the challenges contemporary art presents to many, we adopt a comprehensive strategy to facilitate art appreciation and comprehension. This diverse approach is a defining feature of our biennale's focus on contemporary art.
Finally, what do you hope visitors will take away from their experience of the Busan Biennale 2024?
Vera Mey: We believe in and are hopeful about the autonomy of art.
Philippe Pirotte: The biennale is best experienced by immersing oneself in the art and allowing it to evoke personal sensations and interpretations. It's an opportunity to appreciate art beyond immediate comprehension, challenging the conventional role of artists and cultural theorists in the cultural industry. The exhibition aims to be a space for free thought and speculative imagination, free from the constraints of commercial return or curatorial control. It seeks to foster a dialogue that accepts ideological differences and promotes a celebratory critique rather than conflict.
How about this article?
- Like6
- Support0
- Amazing4
- Sad0
- Curious0
- Insightful0