The 2024 Busan Biennale, now in its 12th edition, ambitiously tackles the complexities of modern existence through the theme “Seeing in the Dark.” Running for 65 days across multiple iconic venues, including the Busan Museum of Contemporary Art and the historic Bank of Korea building, the Biennale explores spiritual and cultural realms, weaving together concepts such as pirate utopias and Buddhist monasticism. Co-directed by Vera Mey and Philippe Pirotte, the event aims to offer new perspectives on navigating the uncertainties of contemporary life.
While the Biennale serves as a critical cultural touchstone for Busan, cementing its place in the global art landscape, this year’s edition has not been without its challenges. Criticism has emerged regarding the limitations imposed by its modest budget, which has impacted the scope and scale of the exhibitions. Additionally, venue choices, such as the Choryangjae location, situated near an active construction site, have drawn concerns over visitor experience and safety. Furthermore, the complex curatorial vision, while intellectually ambitious, has left many attendees struggling to connect with the art, raising questions about whether the theme risks alienating a broader audience.
As the Busan Biennale evolves, it faces the task of addressing these operational and thematic hurdles to solidify its standing as a leading global cultural event.
Budgetary Constraints and Their Impact
Behind the creative ambitions of the 2024 Busan Biennale lies a significant hurdle: its comparatively modest budget. With an allocation of around 2 billion KRW, the event faces financial limitations that restrict its capacity to compete on the global stage. For context, other prominent art biennales like the Gwangju Biennale operate with nearly 3 billion KRW, providing them with more resources to curate larger, more diverse exhibitions and enhance visitor experiences.
The disparity in funding has direct consequences on the scope and quality of the exhibitions. While Busan’s curators aimed for a grand exploration of metaphysical and cultural ideas, including complex themes like pirate utopias and spiritual awakening, the budget constraints inevitably placed limitations on what could be achieved. This has affected artist engagement, logistical operations, and international outreach. In particular, funding shortfalls have been cited as a reason for scaled-back promotional efforts, which may limit the Biennale’s ability to attract a wider, global audience.
Additionally, the relatively small budget has impacted the organizational structure, with criticisms pointing to inadequate resources for properly maintaining and managing the diverse exhibition spaces. Visitors have noted logistical issues, such as inaccessibility or lack of adequate signage at some venues, further indicating that underfunding has hindered the Biennale’s operational efficiency.
As Busan strives to establish itself as a cultural hub, especially in competition with events like the Venice Biennale, the financial gap highlights the need for greater public and private investment to sustain and elevate the event. Without addressing these budgetary challenges, the Biennale risks stagnation, unable to fully capitalize on its cultural significance or artistic potential. Moving forward, securing more robust funding will be crucial for expanding the scale, improving logistics, and ensuring that the Busan Biennale can stand shoulder to shoulder with its international counterparts.
Curatorial Vision and Its Reception
The curatorial ambition of the 2024 Busan Biennale is undeniably bold. With the theme “Seeing in the Dark,” co-directors Vera Mey and Philippe Pirotte sought to navigate the metaphorical darkness of modern life, drawing inspiration from pirate utopias and Buddhist monasticism. The theme explores concepts of spiritual liberation and societal alternatives, using these historical and mythical ideas to reflect on today’s uncertainties. While intellectually stimulating, the curatorial approach has proven to be a double-edged sword, as its conceptual depth has not resonated universally with the audience.
One of the main criticisms has been the complexity of the theme. The blending of pirate mythology—rooted in anthropological tales of egalitarian societies formed by European pirates in Madagascar—with Buddhist ideals of spiritual awakening, created a challenging narrative for the average visitor to follow. While this ambitious combination may have intrigued art critics and theorists, many attendees found the theme overwhelming. The art installations, while visually compelling, often lacked the contextual clarity necessary for visitors to connect the works with the overarching theme. The difficulty in understanding the intricate metaphorical connections left some feeling alienated, as the art was perceived as too abstract or esoteric for general audiences.
Moreover, the curatorial decision to include financial concepts such as “securitization” and “financialization” at venues like the Bank of Korea building added yet another layer of complexity. The inclusion of these ideas was intended to challenge traditional notions of materiality, encouraging a “dematerialization” of thought. However, the introduction of these dense financial terms felt disconnected from the core spiritual themes and added to the conceptual overload, leaving many visitors puzzled by the curatorial intent.
That said, certain works succeeded in making the Biennale’s themes more accessible. Koo Hun-joo’s “Mugunghwa Pirates” was one such standout piece. The artist reimagined Korean presidents as pirates, symbolically excluding those leaders who had undermined democracy. By doing so, Koo used the pirate metaphor to engage with South Korea’s historical struggles for democracy, creating a relatable critique that connected more directly with the audience. This work stood out as a successful integration of the Biennale’s themes while maintaining a clear and powerful message.
Despite the mixed reception, the Biennale’s curatorial approach demonstrated a willingness to push boundaries and explore complex ideas. For some, this intellectual rigor is what distinguishes the Busan Biennale from more traditional exhibitions. However, for others, the complexity and lack of cohesion between the artworks and the theme raised questions about whether the curatorial team sacrificed accessibility in favor of high-concept art. As the Busan Biennale continues to evolve, finding a balance between intellectual depth and public engagement will be crucial to its future success.
Venue Selection and Logistical Issues
This disparity in venue effectiveness underscores a recurring issue for the Busan Biennale: balancing the desire to showcase art in unconventional, historically significant spaces with the practical needs of displaying contemporary art.
One of the most pressing issues faced by the 2024 Busan Biennale has been the selection of exhibition venues, particularly the problems associated with Choryangjae. While the curators aimed to imbue the event with historical and architectural significance by utilizing non-traditional spaces such as the Bank of Korea building and Choryangjae, the logistical challenges these sites presented proved problematic.
Choryangjae, a small, historic residential building located near a construction site, has been a particular point of contention. Visitors reported that the noise from ongoing construction work significantly disrupted the viewing experience. Furthermore, the close proximity to an active construction zone raised safety concerns, as navigating the area became difficult and potentially hazardous. These logistical issues not only affected the audience’s ability to engage with the artwork but also detracted from the immersive experience that the curators intended.
The choice of Choryangjae also sparked broader criticism about its suitability as a venue for contemporary art. Given the limited space and the inherent challenges of the location, many attendees felt that the art on display was not able to shine in such a constrained environment. This is particularly problematic for a biennale of Busan’s caliber, which aims to compete on a global stage. The mismatch between the ambition of the exhibition and the practicality of the venue left many wondering whether the curatorial team had prioritized aesthetic or thematic choices over audience comfort and accessibility.
In contrast, other venues, such as the Busan Museum of Contemporary Art, were better suited for large-scale installations and performances. Here, the spacious galleries and professional infrastructure provided a more conducive environment for the art to be appreciated without distractions. The difference in quality between venues like the museum and Choryangjae was stark, highlighting the unevenness in the execution of the biennale’s vision.
This disparity in venue effectiveness underscores a recurring issue for the Busan Biennale: balancing the desire to showcase art in unconventional, historically significant spaces with the practical needs of displaying contemporary art. While the concept of using non-traditional venues can enhance the thematic depth of the exhibition, it must be carefully managed to ensure that the practicalities of visitor experience, safety, and art display are not compromised. As the Busan Biennale looks toward future editions, more thoughtful planning regarding venue selection will be essential to avoid these logistical pitfalls and ensure that all locations are equally suitable for high-quality art presentations.
Comparison with Other Global Biennales
The 2024 Busan Biennale’s theme, “Seeing in the Dark,” though conceptually rich, was criticized for being too convoluted, mixing pirate utopias, Buddhist monasticism, and even financial jargon.
As the Busan Biennale aims to position itself among the leading international art events, it naturally invites comparison with other major biennales, such as the Venice Biennale, São Paulo Biennale, and Gwangju Biennale. These comparisons highlight both the strengths and shortcomings of Busan’s efforts to gain a foothold in the global art world.
The Venice Biennale, often regarded as the gold standard of international art exhibitions, attracts artists and visitors from all over the world. Its long-standing history and extensive funding allow for large-scale exhibitions that not only showcase cutting-edge contemporary art but also act as a global cultural hub. Venice benefits from its established reputation, and the biennale is embedded within a city that already draws millions of tourists. In contrast, the Busan Biennale, while gaining recognition, still faces challenges in carving out a distinctive global identity. The 2024 edition has been recognized for its ambition, but struggles with lower funding and logistical issues, limiting its international influence. Despite these limitations, Busan’s unique geographic and cultural positioning as a port city offers potential for growth.
One of the most striking differences between Busan and its international counterparts is the issue of funding. Venice and São Paulo benefit from significantly larger budgets, which allow for the inclusion of high-profile artists, more expansive installations, and greater global outreach. For example, the Venice Biennale’s financial and institutional support enables the participation of over 90 national pavilions, highlighting its scale and global diversity. Busan, with a budget of around 20 billion KRW, faces constraints in both the scope of its exhibitions and its promotional capabilities. The need for increased funding to elevate the quality of the event and enhance international collaboration is a critical issue that must be addressed if Busan hopes to compete on a similar level.
Where Venice and São Paulo tend to showcase a mixture of both established and emerging global talent, Busan has focused on a diverse range of artists, including those from underrepresented regions such as Africa and Southeast Asia. This has been one of the Biennale’s key strengths, offering a platform for artists whose voices might be marginalized in more established art circuits. The 2024 edition, for example, featured works from artists spanning continents, including Korea, Africa, and Southeast Asia. While this diversity enriches the exhibition, some critics argue that it is not enough to differentiate Busan as a top-tier biennale without a more cohesive and clear curatorial direction.
Another area where Busan could draw lessons from its global peers is thematic cohesion. Venice and São Paulo often choose broad but engaging themes that allow for varied interpretations while maintaining a coherent throughline across exhibitions. The 2024 Busan Biennale’s theme, “Seeing in the Dark,” though conceptually rich, was criticized for being too convoluted, mixing pirate utopias, Buddhist monasticism, and even financial jargon. While this intellectual complexity may appeal to more niche audiences, it risks alienating the broader public. In contrast, biennales like Venice often balance intellectual depth with accessibility, ensuring that audiences of all backgrounds can engage with the art. Streamlining and refining thematic approaches in future editions could help Busan strike this balance.
Both Venice and São Paulo biennales play integral roles in their respective cities’ cultural tourism, attracting hundreds of thousands of visitors who contribute to the local economy. Busan, with its scenic coastline and rich cultural history, has the potential to attract similar numbers, especially as it continues to grow as a tourist destination. The challenge, however, lies in translating the event into a must-see cultural attraction. The logistical issues faced in 2024, particularly the challenges with certain venues like Choryangjae, suggest that Busan needs to refine the visitor experience to fully capitalize on the tourism potential that large biennales offer.
While the Busan Biennale has made significant strides, particularly in showcasing diverse voices and taking artistic risks, it still has much to learn from its more established counterparts. Addressing funding gaps, improving logistical planning, and refining curatorial strategies will be essential if Busan is to elevate its biennale into a truly global event. With its unique position as a port city and growing international reputation, the Busan Biennale has the potential to become a cultural powerhouse, but only if it can successfully address the challenges it currently faces.
Limitations of Contemporary Art in Korea
Many contemporary works are deeply rooted in theoretical frameworks, making them difficult for casual viewers to engage with. The focus on complex, often abstract themes can result in a lack of emotional or personal connection with the audience.
In Korea, contemporary art faces a range of limitations that stem from a combination of cultural, institutional, and societal factors. One of the most significant challenges lies in the accessibility of contemporary art to the general public. Contemporary works often emphasize abstract, conceptual forms that can be difficult for everyday viewers to interpret or connect with emotionally. This gap in understanding has led to the perception that contemporary art is reserved for an elite audience well-versed in artistic theory, which can alienate the broader public. Exhibitions such as the Busan Biennale illustrate this divide, where complex themes like pirate utopias and Buddhist monasticism may be intellectually stimulating but fail to resonate with those unfamiliar with such abstract concepts. As a result, contemporary art often seems detached from the everyday lives and concerns of ordinary people.
A related issue is the increasing globalization and commercialization of Korean contemporary art. As more Korean artists gain international recognition, there is pressure to align with global market trends, which can dilute the distinct cultural identity that has historically defined Korean art. While globalization opens up opportunities for cross-cultural dialogue, it can also lead to a form of cultural homogenization, where artists prioritize commercial appeal over local relevance. This shift is evident in the work of many artists who tailor their output to fit the tastes of international collectors and institutions, potentially compromising their artistic integrity in the process.
Furthermore, Korean contemporary art suffers from institutional challenges, particularly in terms of financial support and infrastructure. While the country has developed a strong network of museums and galleries, these institutions often prioritize established artists or commercially viable works. This leaves little room for experimental or emerging artists who require sustained financial backing to develop their practice. Although events like the Busan Biennale provide a platform for these artists, there is still a lack of long-term support that hinders the growth of avant-garde or less market-driven art.
Additionally, the intellectualization of contemporary art poses another barrier. Many contemporary works are deeply rooted in theoretical frameworks, making them difficult for casual viewers to engage with. The focus on complex, often abstract themes can result in a lack of emotional or personal connection with the audience. In Korea, this issue is exacerbated by the fact that contemporary art has traditionally occupied a relatively marginal position within the broader cultural landscape, where more direct, narrative-driven forms of art like traditional painting or popular culture tend to dominate. The result is a contemporary art scene that is often perceived as being out of touch with the everyday realities of the general public.
These challenges raise critical questions about the future direction of contemporary Korean art. To remain relevant, the art world must find ways to balance global influences with local narratives, ensuring that contemporary art maintains its cultural specificity while still engaging with broader, international conversations. Additionally, addressing the institutional and financial barriers that limit artistic experimentation will be crucial for fostering a more inclusive and dynamic art scene in Korea.
Editor’s Notes
Korean contemporary art must cultivate a unique identity that reflects the country’s rich cultural history and social context, rather than being overshadowed by global trends. As Korean art increasingly aligns with international standards and markets, there is a growing risk that it will lose its distinctiveness, blending too much into the globalized art scene. While the global recognition of Korean artists is an important achievement, it should not come at the expense of Korean art’s cultural individuality.
In today’s rapidly globalizing world, artists often face pressure to create works that are palatable to an international audience, driven by the demands of commercial success. This often results in a tendency to adopt Western forms and themes, which may be more easily understood by global markets. However, I believe that the strength of Korean contemporary art lies in its ability to draw from its own cultural heritage—integrating traditional aesthetics, philosophies like Buddhism and Confucianism, and historical narratives that are uniquely Korean. By doing so, Korean artists can create a form of contemporary art that is both globally relevant and culturally rooted, offering something distinctively Korean to the world.
Moreover, by emphasizing local narratives and traditions, Korean contemporary art can offer a fresh perspective that challenges the dominance of Western-centric art practices. There is immense value in exploring and reinterpreting traditional Korean art forms in modern contexts, such as the use of hanji (traditional paper), Joseon-era art aesthetics, or philosophical concepts like inyeon (human connection) and how they can interact with modern-day themes. This balance between embracing globalization and preserving local culture is not only a matter of artistic integrity but also a cultural responsibility.
Furthermore, Busan, as a port city rich in both history and modernity, provides a unique cultural landscape that offers fertile ground for artistic innovation. With its deep maritime history, Busan is a city of confluence—a meeting place of different cultures, ideas, and traditions. The Busan Biennale, in particular, has the potential to highlight the city’s dynamic cultural identity, integrating the local with the global in a way that distinguishes it from other international art events. By embracing Busan’s local character, the Biennale can position itself not just as a venue for contemporary art but as a global stage where tradition and modernity, East and West, meet.
In the end, a stronger focus on Korean cultural elements and Busan’s unique cultural history would not only enrich the domestic art scene but also allow Korean contemporary art to stand out on the global stage. It is through this cultural specificity that Korean artists can offer something truly distinctive, rather than simply participating in the homogenization of global contemporary art.
