GWANGJU.- The 15th Gwangju Biennale, titled Pansori: a soundscape of the 21st century, concluded its 86-day journey with a closing ceremony on December 1. Pansori: a soundscape of the 21st century expanded the exhibition space to include Yangnim-dong area in addition to the Gwangju Biennale Exhibition Hall, featuring 31 pavilions, where visitors could experience contemporary art from different countries and institutions, transforming the entire Gwangju region into a hub of artistic and cultural scene.

The 15th Gwangju Biennale attracted approximately 700,000 visitors from September 7 to December 1. Visitor satisfaction for this edition of the Gwangju Biennale was very high, with an overall satisfaction rate of 81.7%, the highest ever recorded for the Biennale, and a 5.8% increase over the 14th edition. Curated by Nicolas Bourriaud, the 15th Gwangju Biennale, Pansori: a soundscape of the 21st century, featured 72 artists from 30 countries who explored contemporary space through sound under the narrative of “pansori,” a traditional Korean music form.

The exhibition, in which individual sounds filled each exhibition hall in harmony, not only suggested the original meaning of “pansori,” which implies “space” and “sound,” but the sounds that ran through the exhibition were presented as a narrative that moved between the material and immaterial, migration and anti-migration policies, freedom and suppression. Under the universal theme of “space,” the exhibition visualized the invisible issues that triggered change, such as climate change, conflict, economic crisis, and migration, through contemporary art, and to provide an opportunity for those who encounter them to deepen their understanding of reality. The 15th Gwangju Biennale, whose participants consisted of all living artists, also aimed to reflect the contemporary discourse in a timely manner, with more than 40 women artists. In particular, the Gwangju Biennale did not lose sight of its connection to Gwangju, selecting Gwangju-based artists to participate and actively utilizing local bases.

In addition to the Gwangju Biennale Pavilion, Yangnim-dong, which has a long history and community spirit in the city of Gwangju, was utilized as an exhibition space, setting the stage to allow visitors to experience a diverse spectrum of sounds. The Yangnim Culture Centre, Podonamu Art Space, Han Boo Chul Gallery, Yangnim Salon, Yangnim Old Police Station, Han Hee Won Museum of Art, Empty House, and Horanggasinamu Art Polygon were used as unique exhibition venues to connect with the main exhibition. Many visitors walked around the Yangnim-dong neighborhood and experienced the various soundscapes as woven by the director.

The Pavilion, organically linked to the main exhibition of the 15th Gwangju Biennale explored the multifaceted flow of contemporary art through the participation of diverse entities. The pavilion,the largest ever, featured 22 national pavilions and nine institutions, transforming the entire city of Gwangju into a cultural hub. With 22 countries, including Argentina, Austria, Canada, China, Denmark, Finland, Germany, Indonesia, Italy, Japan, Malaysia, Myanmar, The Netherlands, New Zealand, Peru, The Philippines, Poland, Qatar, Singapore, Sweden, Thailand, and Vietnam, as well as city and institutions participating including, Spanish Art, ASEAN (ASEAN-Korea Centre), American, Africa, Union, CDA Holon, Korea Foundation-Gwangju Biennale Foundation, British Council-Korea Foundation, and Gwangju, the exhibition explored the multifaceted flow of contemporary art.

The participatory programs and educational programs offered during the 15th Gwangju Biennale played a crucial role in nurturing the next generation of culture and art lovers. More than 30,000 people participated in the various programs, enhancing their sense of cultural and artistic enjoyment. A symposium titled, Echoes of Tomorrow: Soundscapes in the Age of Advanced Computing was held on September 6 at the National Asian Culture Center. Approximately 200 people attended the symposium, showing interest in the future of art and technology. The Gwangju Biennale Academy 2024 International Curator Course, an educational program to train international contemporary art curators, theorists and art administrators, was also held for two weeks in September.