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Gb8 Guidebook e Final

Gb8 Guidebook e Final

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The 8th Gwangju Biennale, 2010, South Korea
The 8th Gwangju Biennale, 2010, South Korea

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Published by: middledot on Dec 07, 2010
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10/31/2012

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PAWEL ALTHAMERCARL ANDRE
 
ART ORENTÉ OBJETANNA ARTAKERTAUBA AUERBACHMORTON BARTLETTTHOMAS BAYRLEHANS BELLMERE. J. BELLOCQNAYLAND BLAKE
 
JONATHAN BOROFSKYRNA BOTEAKERSTN BRÄTSCH
 
GLENN BROWNJAMES LEE BYARSDUNCAN CAMPBELLJAMES CASTLEMAURZO CATTELANJACQUES CHARLERHYEJEONG CHOBYUNGSOO CHOKWANGHO CHOANNE COLLERROBERTO CUOGHKEREN CYTTERJOHN DE ANDREABERLNDE DEBRUYCKERE
 
ANDRE DE DENESPHLPLORCADCORCAMKE DSFARMERHAROLD EDGERTONWALKER EVANSEYE GLASS SHOPHARUN FAROCKJEAN FAUTRERHANSPETER FELDMANNPETER FSCHL &DAVD WESSLEE FREDLANDERKATHARNA FRTSCHAURÉLEN FROMENTPAUL FUSCOCYPREN GALLARDRUPPRECHT GEGERFRANZ GERTSCHHERMANN GLÖCKNERJEANLUC GODARDGU DEXNGUO FENGYJOÃO MARA GUSMÃO &PEDRO PAVAYANGAH HAMDUANE HANSONYDESSA HENDELESTHOMAS HRSCHHORNTOM HOLERTARNOUD HOLLEMANCARSTEN HÖLLERRON HORNTEHCHNG HSEHHUANG YONG PNGHEUNGSOON MSANJA VEKOVĆJKKEN KOBO /EXPERMENTALWORKSHOPYASMNE KABRKAN XUANBONGKYU KANGJACOB KASSAYLEANDRO KATZMKE KELLEYEDWARD &NANCY REDDNKENHOLZHANYONG KMSANGGL KMKONRAD KLAPHECKALCE KOKKOKDU
(FROM THECOLLECTION OF OCKRANG KIM)
JEFF KOONSTETSUM KUDO
 
1
10000 LVES
10,000 Lives
, the 8th Gwangju Bennale presents a sprawlngnvestgaton o the relatonshps that bnd people to mages andmages to people. Wth works by 134 artsts—realzed between 1901and 2010, as well as several new commssons—the ehbton brngstogether artworks and cultural artacts to eamne our obsesson wthmages.Today we suer rom an acute orm o conophla, a pathologcalascnaton wth mages. Bllons o mages are produced and consumedevery day: more than 500,000 mages per second are uploaded to asngle webste; Amercans alone take an average o 550 snap shots persecond; by the age o orty, a person wll have watched an average o50,000 hours o televson. We lve n a world suocated by mages,and yet we stll seek comort n them: we congregate around mages,adore them and crave them. We consume mages and destroy them,carryng out wars n ther name.The ehbton ttle s borrowed rom
Maninbo (Ten Thousand Lives)
,the 30 volume epc poem by Korean author Ko Un. Conceved whle Kowas n prson or hs partcpaton n the 1980 South Korean democratcmovement,
Maninbo
s composed o over 4,000 poems—portrats nwords descrbng every person Ko Un has ever met, ncludng guresrom hstory and lterature.As wth
Maninbo
, the ehbton unolds as a gallery o portrats or asa amly album. Encompassng a dverse range o meda,
10,000 Lives
 presents a seres o case studes that eplore our love or mages andour need to create substtutes, eges, and standsn or ourselvesand our loved ones.
10,000 Lives
tells the story o people through themages they create and the mages they leave behnd, but t also ollowsthe lves o mages themselves, tracng ther endless metamorphoses,rom unerary statuary to commercal propaganda, rom relgous conto scentc tool, rom a mrror o ourselves to a projecton o ourdesres.Along wth the work o contemporary artsts, the ehbton ncludeshstorcal works, ound photographs, and cultural artacts thateemply the multaceted estence o mages, placng them wthna wder cultural contet and, at tmes, blurrng the lne between
CONTENTS
 
1
 
CURATOR’S NTRODUCTON7
 
BENNALE HALL . GALLERY 135
 
BENNALE HALL . GALLERY 265
 
BENNALE HALL . GALLERY 385
 
BENNALE HALL . GALLERY 4126
 
BENNALE HALL . GALLERY 5129
 
GWANGJU FOLK MUSEUM / FOLKLORE EDUCATON CENTER139
 
GWANGJU MUSEUM OF ART152 YANGDONG TRADTONAL MARKET PROJECT154
 
SPONSORS155
 
LENDERS TO THE EXHBTON156
 
VENUES157
 
VSTOR NFORMATON158
 
MAGE CREDTS & PERMSSONS160
 
GWANGJU BENNALE FOUNDATON / SPONSORS161
 
CREDTS
 
23
and crculated. The epermental lms o
Jkken Kobo
and
KatsuhroYamaguch
take the machne o vson apart: the act o seeng becomesan adventure or the eyes, whle n
Artur Żmiewsk
’s new vdeo, blndpeople pant the world as they see t.In other cases, mages anne new terrtores to the doman o thevsble.
Harold Edgerton
’s stroboscopc shots and
Elot Porter
’snaturalstc vews are eamples o scentc photography that haveradcally renvented the way we see thngs, mappng new physcal andaesthetc dmensons.Eplorng the technology o vson, many works n the ehbtoneamne the tes—at tmes lovng, at tmes volent—between camerasand subjects. In
Chrstopher Wllams
’s photographs, the apparatus ovson s lterally taken apart: lenses are cut open, cameras nspectedrom each and every angle, to reveal the mechancs whereby mages areconstructed. In the works o
Harun Farock
,
João Mara Gusmão &Pedro Pava
,
Carsten Höller
, and
Mark Leckey
, one detects a concernwth the act o seeng, so much so that t has to be careully analysed.The recepton and consumpton o mages represent a crucalpreoccupaton or artsts and mage makers today.
HansPeterFeldmann
,
Shnro Ohtake
,
Seth Prce
, and many others, accumulate,collect, and organze ound mages and ragments o vsual culture. Asthe lne separatng the producton o mages rom ther consumptongrows thnner, these artsts look at how mages are abrcated anddstrbuted through meda.
GALLERY 3
brngs together works that deal wth the representatono heroes and martyrs, eplorng the ways mages are used to createmyths, preserve the memory o vctms, or bear wtness to war andoppresson.A key work n the vsual lecon o the Chnese Cultural Revoluton, the
Rent Collecton Courtyard
s a dsplay o over 100 sculptures made toeducate the Chnese populaton about the abuses o the eudal system.Created between 1965 and 1978 by students, artsts, and aculty othe Schuan Fne Arts Insttute, the tableau llustrates the confaton oart, poltcs and collectve beles—the power o mages to educate andstr revolutons. It s presented n ts entrety n the Bennale, and orthe rst tme ever n an Asan country outsde Chna.documents, relcs, and art works. It s a bennal conceved as atemporary museum—openng outwards to embrace hstory, theehbton cultvates the eercse o memory, wanderng through morethan one hundred years o hstory.In the
BENNALE HALL
, ve separate galleres branch o to refectthemes recurrng throughout the ehbton. The ehbton begnsn
GALLERY 1
, presentng works that deal wth photographcrepresentaton, posng, and the constructon o the sel throughmages. From
Mke Dsarmer
’s pennyportrats to
Sanggl Km
’srecords o onlne communtes, and
Heungsoon m
’s vdeos, n
10,000Lives
, people lne up n ront o the camera, ranked lke tn solders orpnned down lke a gorgeous collecton o butterfes. Celebrtes andllustrous nobodes appear n the photographs o
Andre de Denes
,
Hanyong Km
, and
Namhan Photo Studo
, whle
Peter Fschl &Davd Wess
algn thousands o snapshots on a lght table twentyseven meters long, presentng realty n all ts sublme banalty. In thepantngs and drawngs o
Franz Gertsch
,
Mara Lassng
, and
JakubZółkowsk
, aces and psychologes are dramatcally revealed.Flmmaker
Wu Wenguang
dstrbuted vdeo cameras to rural Chneseworkers and asked them to lm ther towns: the hundreds o hoursrecorded by the armers capture everyday le at the margns o theChnese empre, composng a choral encyclopeda. Swarmng wthpctures, the ehbton becomes an magemakng machne:
FrancoVaccar
nvtes vstors to pose and photograph themselves usnga photo booth n the ehbton galleres. By manpulatng hstorcalphotographs, and wth the collaboraton o an army o volunteers,
Sanja vekovć
creates a lvng memoral to the partcpants o the May18 Gwangju Uprsng o 1980.In a world gorged on mages, recyclng, appropraton, and repettonhave become survval strateges that can assume a therapeutcuncton.
Anne Coller
,
Aurélen Froment
, and
Peter Roehr
 approprate and rearrange estng mages.
Sherre Levne
and
Sturtevant
queston ownershp and copyrght by replcatng works byother artsts.
GALLERY 2
eplores the mechancs o vson through optcal llusonsand parascentc magnares. Analyzng how vsual eperencesare nscrbed n our eyes and bodes, artsts lke
Tauba Auerbach
,
Thomas Bayrle
,
Brdget Rley
,
Paul Sharts
,
Stan VanDerBeek
, and
Haegue Yang
, rase questons about how mages are constructed

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