1. You have decided to take part in the Changwon Sculpture Biennale 2020 amidst the COVID-19 pandemic. Has there been any challenges?
2. The traditional exhibition model no longer applies in the post-pandemic era, calling for alternatives. What kind of role do you think biennales and art exhibitions should play in the future?
3. Offline visits to indoor exhibitions (Main Exhibition, Special Exhibitions 1 & 2) were restricted due to the government’s social distancing policy from September 17 to October 4, 2020 during which the audience were able to enjoy artworks only through online platform. The exhibitions have been made available both online and offline afterwards. What do you think of the online exhibitions at the Changwon Sculpture Biennale 2020?
4. Do your submissions to the Changwon Sculpture Biennale 2020 have any connections with its theme, “Non-Sculpture: Light or Flexible“? If they do, tell us your thoughts in relation to materials, forms, methodologies and contexts.
5. What’s your impression of the Biennale in Korea?
6. What do you make of the Changwon Sculpture Biennale 2020, compared to other biennales? Tell us your honest feedback.
7. What are your plans after the Changwon Sculpture Biennale 2020?
Artist: Esther Stocker
Artwork: Untitled
Q. The traditional exhibition model no longer applies in the post-pandemic era, calling for alternatives. What kind of role do you think biennales and art exhibitions should play in the future?
A. I strongly believe that interesting art movements often arise from the ruins a society or in times of dramatic changes. Because we need expressions for that.
Art events like the Biennale have a unifying quality which I like so much and everybody loves about them. They are important civil events where the most challenging questions of our time should be asked.
Q. Do your submissions to the Changwon Sculpture Biennale 2020 have any connections with its theme, “Non-Sculpture: Light or Flexible“? If they do, tell us your thoughts in relation to materials, forms, methodologies and contexts.
A. I am especially fascinated by the theme of the Biennale because I admire the power of the ‘soft’ forms. How surprising to learn that so many weaker or lighter materials develope such great power. At first sight it seems so contradictory to classical thoughts about sculpture and masses. Equilibrium of forces is a subject so complex and great to be considered in all aspects.
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