just finished my review of the @gwangjubiennale, and even after some time to reflect, it remains vividly in my memory as an impressive exhibition. what really stood out was how the soundscape (and even smellscape) immersed you without relying on explicitly immersive works. the emotional choreography was striking—beginning with a sense of frustration towards some over-discussed contemporary art discourses (not to dismiss their importance or ambition, but it’s disheartening how resistant they are to real change, especially nowadays). this frustration gradually shifted into subtle, speculative reflections, always underscored by mixed emotions. at different moments, i felt sad, comforted, unsettled, but even hopeful. one of the standout pieces for me was @mira.mann s abandoned house, and the @germanpavilion.gwangjubiennale also left a lasting impression. and since, despite the anniversary, unfortunately little connection was made to the reason for initiating the biennial (the gwangju uprising), the gwangju pavilion held particular importance for me. more thoughts on this in the next issue of @kunstforum_international 😌✨ 1 – bianca bondi, the long dark swim, 2024 2 – anna conway, instructions: revolve, 2024 3 – yuyan wang, green gray black brown, 2024 4 – cinthia marcelle, there is no more place in this place, 2019-2024. 5 – max hooper schneider, lysis field, 2024 6 – hye-won kwon, cave of portals, 2024 7 – sofya skidan, what du you call a weirdness that hasn’t quite come together?, 2019-2024 8 – mimi park, shining us, 2024 9 – mira mann, revolutionary love, mon cheri/ 공, 2023 10 – longega projec, 180% on fire, 2024, badminton tournament @german pavilion, foto: choi jin woong