Artists and Curators Map the Intersection of Tradition and Innovation

CHEONGJU CRAFT BIENNALE

As the 13th edition of the Cheongju Craft Biennale approaches, titled "The Geography of Objets," the exploration of craft stories is likened to a journey guided by a map. During a press conference on Thursday, Kang Jae-young, the artistic director for this biennale and CEO of Mangrove Artworks, compared the process of discovering each craft's narrative to consulting a map when venturing into new territory.

Scheduled to commence on September 1, the biennale will take place at the transformed Cheongju Culture Factory, a former cigarette factory-turned-cultural complex located near the National Museum of Modern and Contemporary Art's Cheongju branch. Hosted by the city of Cheongju in North Chungcheong, the event, which first launched in 1999, will run until October 15.

This year's edition boasts the participation of 96 artists from 18 different nations, with a near equal representation of local and international talents. Notably, approximately 80 percent of the showcased crafts will be newly created works, highlighting the biennale's commitment to fresh perspectives.

Structured across five distinct sections, the event aims to explore various aspects of crafts, including genres, sustainability, techniques, history, and the future of the craft industry.

Cheongju holds significant cultural significance in the realm of Korean crafts. It was in this region that the world's oldest existing book printed with movable metal type, Jikji, was first published. The area also witnessed a flourishing of ironware during ancient times.

"Crafts were integral in the production of Jikji," explained Kang. "It required hanji [traditional Korean mulberry paper], brushes, inkstone, and meok [traditional East Asian black ink]. For this reason, we have dedicated a section to showcase an ASMR video featuring seven intangible cultural assets, craftspeople based in Cheongju and other cities in North Chungcheong, as they print and compile the texts."

Jurgen Bey, a Dutch designer appointed as one of the biennale's ambassadors, highlighted the importance of revitalizing heritage by imparting traditional techniques and skills to the current generation. Bey joined the press conference, where he emphasized the need for reinvention within the craft industry.

Another artist, Lee Sang-hyeob, known for his silver jars embellished with countless hammer marks, offered a glimpse of his latest pieces at the biennale, which depart from the traditional jar shape and embrace primitive techniques.

Reflecting on the impact of the pandemic, Kang stated, "The previous edition in 2021 focused primarily on exhibiting crafts. However, for this iteration, we have expanded our offerings to include hands-on programs such as craft workshops and lectures by the craftspeople themselves. We hope that this approach will enhance enjoyment and foster discussions surrounding the world of crafts."

As the Cheongju Craft Biennale prepares to unfold, visitors can anticipate a captivating exploration of traditional artistry and innovative interpretations, guided by the artistic cartography crafted by the participating artists and curators.

Sayart.net 

Kang In sig, insig6622@naver.com