Doryun Chong

  • El Ultimo Grito, Mise-en-scène, 2014, digital print on vinyl. From the 10th Gwangju Biennale.

    10th Gwangju Biennale: “Burning Down The House”

    Responding to the loaded context underpinning Gwangju’s biennial—inaugurated to commemorate the 1980 massacre of Korean civilians protesting military dictatorship—Jessica Morgan borrows a title from the band Talking Heads for this year’s iteration, foregrounding the idea that with destruction comes renewal. The exhibition, which fills five vast halls and surrounding grounds with contributions by some one hundred participants, opens with a work by Korean artist Minouk Lim, who presents a container filled with the biological remains of Korean War casualties—the

  • View of Yokohama Triennale 2011, Yokohama Museum of Art. Foreground: Ryan Gander, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Background: Rivane Neuenschwander, O inquilino (The Tenant), 2010. Photo: Kioku Keizo.

    Yokohama Triennale 2011

    LET'S STATE the most remarkable point first: The fourth Yokohama Triennale opened less than six months after the devastating March 11 earthquake, tsunami, and ensuing and ongoing nuclear crisis, a testament to the calm resoluteness with which not only the Japanese artistic community but the citizenry of the country in general handled the aftermath of the catastrophe. Needless to say, logistical and psychological realities changed dramatically: Insurance costs skyrocketed, and there was no doubt a reluctance to mount confrontational work. But Akiko Miki, the event’s artistic director, braved all