- Busan Seoul Hanok
아련하고 희미한 유토피아
Distant and Faraway Utopia
March 15 – April 21, 2024
- Seoul K1 K2
Kim Yun Shin
March 19 – April 28, 2024
- Seoul K3
Suki Seokyeong Kang
March 19 – April 28, 2024
10 Jun 2023 - 1 Apr 2024
Centre Pompidou-Metz, Metz, France
28 Jun 2023 – 9 Jun 2024
The Städel Museum, Frankfurt, Germany
7 Oct 2023 - 13 Oct 2024
Smithsonian’s National Museum of Asian Art, Washington DC, USA
21 Oct 2023 - 28 Apr 2024
The Musée de La Boverie, Liège, Belgium
27 Oct 2023 - 28 Apr 2024
Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, Germany
6 Dec 2023 - 3 Mar 2024
Macao Museum of Art (MAM), Macao, China
14 Dec 2023 - 10 Mar 2024
Seoul Museum of Art Seosomun Main Branch, Korea
7 Nov 2023 - 20 Oct 2024
The Metropolitan Museum of Art, New York, USA
16 Nov 2023 - 19 May 2024
National Museum of Modern and Contemporary Art (MMCA), Gwacheon, Korea
The exhibition features more than 70 Korean Buncheong ceramics from the 15th century to the present, alongside modern and contemporary paintings and drawings that resonate with the unique expression of Buncheong ceramics. Among works displayed include the Dansaekhwa pioneer Ha Chong-Hyun’s Conjunction 93-005, in which the substantial materiality of bae-ap-bub, a method of pushing paint from the back to the front of the hemp cloth, connects with the imperfect, playful, and unconventional technique of Buncheong ceramics. In addition, 16 oil drawings by Sungsic Moon, created by scratching the thick oil paint surface with a pencil, establish a profound connection across time, echoing the intricately detailed techniques of Korean Buncheong ceramics. The exhibition continues until December 7, 2025.
At the heart of the exhibition lies Latter Genesis: Ana & Carl (2024), an installation featuring 270 bricks reminiscent of works by the 20th-century minimalist Carl Andre. The blood-stained bricks evoke the artistic style of Ana Mendieta, the feminist artist and Andre's wife, hinting at a mysterious incident that has taken place. While referencing a moment in art history, the work distorts the structure of bricks—representative of Yang, or masculine value—by adding blood—symbolic of Yin, or feminine value. In doing so, Kim advocates for the equitable recognition of both artists.
Kim's conceptual approach, marked by an enduring inquiry into “what is art?” and “what can art do?” through the appropriation and modification of modernist principles, permeates the entire exhibition, from its conception to its execution. Rather than being directly shaped by the artist's hands, Latter Genesis: Ana & Carl was realized by a curator who was only given conceptual instructions via texts and drawings. Displayed alongside the work are the artist's notes, sketches, and emails exchanged between the curator and the artist, highlighting the contextual background of the exhibition and enhancing the understanding of each work.
Latter Genesis: Ana & Carl continues until April 21, 2024.
The exhibition highlights The Passions series by the artist, acclaimed for his precision and simplicity that incorporate influences from painting, photography, and cinema. Begun in 2000, this series is inspired in large part by Viola’s study of European religious paintings of the Middle Ages and the Renaissance, as well as his personal experience of loss with the death of his parents. Appearing like moving paintings, the series is a silent meditation on time, ritual, and human emotion.
The three featured works on view employ extreme slow-motion techniques to convey the intensity and complexity of emotions, navigating the extremes of human sentiment. They include Catherine’s Room (2001), portraying a woman undertaking a series of daily rituals at different times of the day across five screens; Four Hands (2001), where the hands of three generations of a family slowly perform predetermined gestures; and Surrender (2001), depicting two figures in increasing states of anguish, gradually lowering their heads into the water. ARTIST ROOMS Bill Viola continues until June 2, 2024.
Works on view include various reinterpretations of traditional materials and calligraphic techniques, such as Kwon Young-Woo’s Untitled (1984), created by cutting hanji paper with a sharp tool and letting blue-gray ink and gouache seep through the incisions, and Lee Ufan’s From Line (1979), which captures the traces of repeated lines drawn from top to bottom. Also on view are two paintings from Byron Kim’s Goryeo Green Glaze series, which depict the subtle color variations of Goryeo celadon on large canvases, exploring the aesthetic traditions of ancient art.
By highlighting the formation of lineages and histories shaped by Korean artists, the exhibition delves into topics and methodological applications that have inspired generations of Korean artists. The exhibition continues through October 20, 2024, with some displayed objects rotating during its duration.
Celebrating its 60th edition since its establishment in 1895, this year’s iteration of Biennale Arte 2024 will be presented under the title Stranieri Ovunque - Foreigners Everywhere. The title draws its inspiration from the eponymous sculptural series (2004–) by Claire Fontaine, an artist collective based in Palermo, Italy. The series comprises neon sculptures in which the phrase “Stranieri Ovunque (Foreigners Everywhere)” is rendered in various languages and colors, evoking the pervasive threat of xenophobia and the feeling of alienation in a global society. The phrase, originating from an eponymous organization that fought against racism and xenophobia in Italy in the early 2000s, carries a dual meaning: first, the recognition that foreigners are omnipresent; and second, that “no matter where you find yourself, you are always, truly, and deep down inside, a foreigner.”
In his statement published in June 2022, Adriano Pedrosa, the curator of Biennale Arte 2024, shared that the upcoming event will “focus on artists who are themselves foreigners, immigrants, expatriates, diasporic, émigrés, exiled, and refugees.” Expanding on this notion of “stranger,” he emphasized that the exhibition will also explore “the production of other related subjects: the queer artist, who has moved within different sexualities and genders, often being persecuted or outlawed; the outsider artist, who is located at the margins of the art world, much like the autodidact and the so-called folk artist; as well as the indigenous artist, frequently treated as a foreigner in their own land.”
In such context, the theme “Foreigners Everywhere” deeply resonates with the trajectory of Kim’s life as an artist. Born in Wonsan (present-day North Korea), Kim moved to Buenos Aires in 1984, captivated by the wilderness, vast grounds, and most notably, the robust wood of Argentina. Subsequently, Kim also spent time in Mexico and Brazil, where she continued her exploration of the unique materials found in each region. Currently approaching the age of 90, Kim continues to divide her time between Argentina and Korea, gracefully embracing her identity as a perpetual stranger in both lands. Marking the first time the event is curated by a Latin American curator in the 128-year history of La Biennale di Venezia, Foreigners Everywhere offers Kim a significant opportunity to showcase her work on an international stage where prominent figures in the art world and art enthusiasts from around the globe are expected to gather.
Since the late 1970s, Kim has encapsulated her body of work under the title Add Two Add One, Divide Two Divide One, assigning the same name to each sculptural piece. As implied by the title, each work elucidates Kim’s sculptural process of adding one’s spirit to the work, where “two becomes one through interaction, then splits again to become two different ones.” Most recently, Kukje Gallery and Lehmann Maupin announced their co-representation of the artist, marking the artist's first-ever partnership with commercial galleries throughout her 60-year artistic career.
As this year’s biennale celebrates the city’s vibrant diversity and unique identity while seeking cultural reconstruction, its main theme resonates deeply with Haegue Yang’s practice, which delves into migration, diaspora, and cultural identity. Yang’s works are featured across two venues in Chiang Rai: Mae Fah Luang Art and Cultural Park and Chiang Rai International Art Museum. Displayed at Mae Fah Luang Art and Cultural Park is Yang’s newly commissioned work from her hanji collage series, Mesmerizing Mesh. For this new body of work, Yang drew inspiration from the paper altars of the Hmong people, an indigenous group living in China, Laos, Vietnam, and Thailand. Here, Yang continues her exploration of domesticity as she utilizes the notion of ‘home’ as a site for religious practices and a representation of the cosmos. At the same time, the work emphasizes the universality of the papercraft tradition, which, while used as various forms across different cultures, embodies common themes of soul, spirit, and way of life.
Meanwhile, on view at Chiang Rai International Art Museum are four works from Yang's Intermediates series, comprising sculptures created with artificial straws that evoke hybrid creatures. Surrounding the sculptures is a wallpaper installation on which pinwheels are attached to an unpredictable, eclectic array of elements such as metallic bells, tree branches, and coral reefs.
Korakrit Arunanondchai presents paintings and video installations. Among them is Painting with history in a room filled with men with funny names 2 (2557) (2014), which was filmed at Wat Rong Khun (White Temple), where it is currently displayed. Featuring young men dressed in denim, which symbolizes the history of labor and Western forces of globalization in Arunanondchai’s work, the video explores the boundaries between the East and the West, fiction and reality, and the ultimate role of art in life. The third edition of the Thailand Biennale continues until April 30, 2024.
Spanning two contrasting spaces, the chronological rooms of 'Day' and 'Night,’ the exhibition unfolds the psychological tensions embedded in Bourgeois’s creations. In the 'Night' space, surrounded by darkness, stand major large-scale works emanating the uniquely peculiar and uncanny beauty characteristic of the artist’s practice. This includes Has the Day Invaded the Night or Has the Night Invaded the Day? (2007), a mirror sculpture from which the exhibition takes its name, and The Destruction of the Father (1974), a womb-like room that reflects her nuanced perspectives on paternity – both which subtly appear under faint lighting, intimately revealing the artist's inner narrative.
Meanwhile, the 'Day' space offers a more intuitive presentation of Bourgeois’s childhood stories that profoundly shaped her artistic expression, resonating with her revelation that "everything I do was inspired by my early life.” Here, exhibited works, including Ode à la Bièvre (2007), a fabric illustration book which reveals connections to her family's tapestry restoration business and memories of the Bièvre River, delve into the context and complexities of the artist’s life, narrating her personal history, familial relationships, and the enduring influence of French culture.
Also featured in the exhibition are projections by Jenny Holzer, an artist who works with text as her primary medium, using excerpts from Bourgeois texts which give voice to her dreams, desires, and personal anxieties. The exhibition continues through April 28, 2024.