Exhibition Title
From Non-Sculpture
Exhibition Venue
Yongji Park
Exhibition Description
This is an outdoor themed exhibition that visualizes the main overall theme of the Biennale, “Non-Sculpture-Light or Flexible.” It breaks away from the typical sense of volume and mass found in conventional sculptures, and uses large outdoor installation pieces that reflect and illustrate various dimensions of sculpture as a discourse-stimulating item for non-sculptures.
1. Features non-material pieces (“flexible” part (content) of the non-sculpture theme) that contain complex content in a larger material piece.
2. Produces a “non-sculptural sculpture” that incorporates elements of nature, landscape, and architecture in a harmonized manner with a network-like exhibition space void of sequential movement
3. Sculpture that draws sound, wind, water, soil, stone, light, etc. to reflect on the concept of “non-sculpture”
4. Features pieces rising from the ground and falling into the ground, natural objects turned into art pieces, sculptures embedded in nature that mimic nature, and sculptures made of a collection of objects
Spatial Arrangement
Changwon Sculpture Biennale 2020 venue inside Yongji Park
Right in the middle of Yongji Park, you will find Pojeongsa. During the Joseon Dynasty, (Yeongnam) Pojeongsa served as part of the provincial government building for Gyeongsangnam-do. Until the Gyeongsangnam-do government relocated from Jinju to Busan, Pojeongsa functioned as a ceremonial main gate to the provincial government building. In 1983, an exact replica of the original Pojeongsa at Jinjuseong Fortress was built inside Yongji Park to celebrate the Gyeongsangnam-do government moving to its current location in Changwon. If you divide Yongji Park in half with Pojeongsa at the center, you will see sculptures from the Changwon Sculpture Biennale 2018 on one side (side adjacent to the Seongsan Art Hall) and sculptures from the Changwon Sculpture Biennale 2020 on the other side.
Main Exhibition 1 (outdoor exhibition) has a layout that feels coherent and well-organized, even if you zig and zag through the exhibition without any particular order. Structurally, it is similar to a Rhizome. A Rhizome is a “plante sans racine,” which refers to plants with multiple stems functioning as faux roots (e.g. crab-grass, mauvaise herbe). In other words, a Rhizome is a plant with fake roots, and because these fake roots connect different blades of grass, a Rhizome is a symbol of the “multiple” than “unity.” The idea of the “Rhizome Metaphor,” inspired by this plurality of plant clusters, leads to situations in which it becomes difficult to determine where something begins and ends (from another perspective, it creates a situation where distinction is unnecessary).
Changwon Sculpture Biennale uses this Rhizome-like layout to enable visitors flow organically from sculpture to sculpture without herding them into particular directions. In the meantime, it makes sure visitors can understand the true meaning and essence of the exhibition, regardless of which sequence they follow. Given its objective, a Rhizome or network-like structure was the natural answer to the Biennale’s spatial arrangement issues.
This network-like exhibition layout helps visitors immerse themselves in “non-sculpture” sculptures offering a blend of nature, landscape, and architecture in a non-sequential manner, and see other sculptures, including pieces rising from the ground and falling into the ground, natural objects turned into art pieces, sculptures embedded in nature that mimic nature, and sculptures made of a collection of objects.
