The 4th Jeju Biennale exhibition opens today (November 26). 40 artists and artists groups from 14 countries will participate in this year’s exhibition, titled The Drift of Apagi : The way of water, wind, and stars. Originating from a cultural anthropological and social anthropological examination of the phenomena of drifting, where various elements converge and disperse, and from a newfound empathy for nature and art. The keyword drift encompasses social, cultural, and political issues as a whole. Jeju itself is an island with a history of drifting.
Movement and migration through drifting have shaped Jeju’s unique ecological environment and identity. Under this concept, the main exhibition encompasses the journey of civilization through drifting, the movement and migration of nature, culture, and art, and the ecosystem of survival and transformation.
Jeju Island possesses a unique cultural landscape, formed through the coexistence and collision of southern cultures brought by the Kuroshio Current and northern cultures rooted in the Big Dipper mythology. The 2024
The Biennale addresses these themes through diverse artworks and programs, offering visitors an opportunity to gain a fresh understanding and experience of Jeju’s history and culture. By reinterpreting the multifaceted narratives born from the intersection of chance and necessity through the concept of drift, the Biennale aims to provide new insights and inspiration. Just as accidental drifting contributed to shaping our civilization today, the 2024 The 4th Jeju Biennale, a contemporary art festival, seeks to create another ocean through encounters, collisions, and fusion within the realm of the sea.
The exhibition can be viewed at various locations in the island— the Jeju Museum of Art, Folklore ＆ Natural History Museum Jeju Special Self — Governing Province, Jeju Art Platform, International Convention Center Jeju [ICC JEJU], and Jeju Museum of Contemporary Art.
Jes Aznar, a Filipino documentary photographer covering conflicts and its roots in Mindanao since 2008 will exhibit The Promised Land , a photographic exploration of the decades—long conflict in Mindanao. Rather than focusing on a singular event, the project adopts a broader perspective, delving into the deeper roots of the islands protracted war.
Through this approach, Aznar unravels the many layers of complexity that define the conflict, uncovering new insights with each investigation.
The Promised Land challenges simplistic narratives that often frame conflicts as a binary struggle between protagonists and antagonists. By peeling back these reductive portrayals, Aznar reveals the primal and multifaceted reasons driving the unrest, offering a richer, more nuanced understanding of Mindanaos turmoil.
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