2024 제7회 창원조각비엔날레 THE 7TH CHANGWON SCULPTURE BIENNALE

VENUE

Seongsan Art Hall

Seongsan Art Hall, the first exhibition venue for silent apple, provides a comprehensive overview of the Biennale’s themes. As visitors experience the unique language of sculpture, they also experience the light that permeates the grid, pathways, and staircases of this comprehensive art center for local citizens, as well as the spaces outside the windows. Located at the center of a radial road in the planned city of Changwon, Seongsan Art Hall is anchored by City Hall’s circular plaza and the KBS Broadcasting Station, Gyeongnam Provincial Office, and Freedom Hall. The recommended route for this space starts at the basement level and moves to the second floor, then the first floor, and then the courtyard, wrapping up at the facing building.

The exhibition space of the Seongsan Art Hall presents an intersection of this Biennale’s themes: the horizontality of sculpture, industrial change, women and labor, and community movements. These works, created by artists who deconstruct the verticality of sculpture, diversify the status of sculpture as an independent language, along with the relationship between women and labor, and that between the planned city of Changwon and various cross sections of time’s passage. Participating artists, meanwhile, actively utilize the space of Seongsan Art Hall itself as a material, actually generating new points of view from which to engage sculpture — “writing” a new spatial order by placing their works both inside and outside the staid, orderly construction of the monotone building.

Kim Sungwhoi, Park Chankeuk, Suk Jongsoo, Sin Yongsik
Mette Winckelmann
Kyeok Kim
Joiri Minaya
Paik Nam June
Hong Seung-Hye
Sim Yi-Sueng
SHIN Min
Jeuno JE Kim & Ewa Einhorn
Jason Wee
Songhee Noh
Diagram Game
Luo Jr-Shin
HA CHA YOUN
Nara Park
Shim Jung-soo
Hyun bhin Kwon
Soyoung Chung
Michael Dean
Daisuke Kuroda
Marie Cool Fabio Balducci
Young In Hong
Jiyoung Yoon
Kim Chungsook
Martha Rosler
Kim Jung Hye
Myong Hi Kim
Yun Jeong-ui
Chung Seoyoung
Aki Onda
MeeNa Park
Ikhyun Gim
Kim Chong Yung
Sooncheon No
Joo Jae hwan
Rosario Aninat
Nevin Aladağ
Robert Smithson
Kei Imazu
GWON Osang
Araya Rasdjarmrearnsook
Fuyuka Shindo
Hwayeon Nam
Tong Wenmin
Park Suk Won

[gudeul]
Donghwan Kam
Ro kyung Ae
Ebb and Flow
Sarim153
Woo Ahreum
Riku Iioka
Jeilyeogaeg

Seongsan Shell Mound

Seongsan Shell Mound, silent apple’s second exhibition venue, is a shell “tomb” discovered in November 1973 during the construction of the Changwon Industrial Complex. Visually dominated by the surrounding factories and permeated by the sounds of their machinery, this space is surrounded by shells eaten and discarded thousands of years ago, as well the remains of a steel mill and some ramparts that date back to the era of the Three Kingdoms. Discovered as the mountain was being carved out to make way for the factory, the Seongsan Shell Mound suggests the dual temporality of its own production and excavation. At the same time, it is also set up as a single space containing multi-layered eras: the Samhan period, the year 1974 (when the National Industrial Complex was established), and the present day, here in 2024.

At Seongsan Shell Mound, silent apple traces a route from steel mill to rampart ruins to exhibition hall, examining the transformations that connect the Iron Age with the industrialization of the future, as well as the sculptural horizontality that unfurls according to the thickness of time. In selecting the Seongsan Shell Mound as a site to exhibit sculpture, the Biennale presents the faint tremors of the city’s futuristic plans and distant past, vibrating together, as a “moment of sculpture” itself. Visitors are invited to walk up the 49-meter hill, through the bamboo grove, and across the terrace to gauge the temporality and movement in play.

Transfield Studio
Chung Seoyoung
Hong Seung-Hye
Micaela Benedicto
Park Suk Won
Choi Goen

Changwon Cultural Complex Dongnam Ground

The third exhibition venue for silent apple, Changwon Cultural Complex Dongnam Ground, was originally built in 1980 under the name “New Town Hall” as a community and education center for factory workers. Consisting of a main building, an east building, a west building (gymnasium), and an administration building, it was a place of rest and care for the workers, serving as a venue for everything from joint weddings and public radio broadcasts. Renamed “Dongnam Exhibition Hall” in 1989, it was converted to a complex (convention center), hosting the Korea Industrial Design Exhibition, which showcased the latest in industrial technologies. The vacant lot in front of the building, then called the Dongnam Sports Field, was used for all kinds of events including speed training for female employees of Samsung Techwin and an Employee Family Unity Field Day for workers at the National Industrial Complex.

What remains of silent apple is air, invisible, inscribed with the wide-ranging movements of the industrial city of Changwon. The Biennale considers the horizontality of sculpture and the movement of the community by using this space, where a podium, soccer goal, and juniper tree remain, as a site of manifestation for sculptural movement and community movement alike. In this space, once full of so many different moving bodies and shouting voices, we pose questions about sculptural movement, reorganized by the ongoing transformation of the city, as well as possible future modes of existence.

Eusung Lee
Hwayeon Nam
CHUNG, Hyun
Tangerine Collective
Cho Jeonhwan

ChangwonCity Masan MoonShin Art Museum

An art museum built by sculptor Moon Shin himself over the course of fourteen years, the Changwon City Masan MoonShin Art Museum is silent apple’s fourth and final venue. Overlooking the sea off the coast of Masan, a center of shipping and commerce, this Chusan-dong museum shares grounds with the sculptor’s former home, as well as his gravesite, up on a hill. In returning his private museum to the status of a public one, the artist Moon Shin — known for utilizing his own body to manifest his ideals in space not just through sculpture but also drawing and architecture — modeled another kind of possible relationship between personal ideals and public values, between sculpture and the city.

The Biennale places its sculptures in an exhibition space with a spiral staircase — an interior structure of Moon Shin’s design — amidst the horizontal and vertical axes of the patterned brick floors and Shin’s own sculptures that make up the MoonShin Art Museum. Here we remember questions of interior and exterior, sculpture and architecture, the life of an individual and the heritage of the collective.

Shim Jung-soo
Moon Shin
Chris Ro
GWON Osang
Soyoung Chung