On September 7, 2024, the 15th Gwangju Biennale in the southwestern city of Gwangju, Korea, opened its doors with the theme “Pansori: A Soundscape of the 21st Century,” featuring 72 participating artists.

At the heart of this reinterpretation of pansori, a traditional Korean form of musical storytelling, is French curator Nicolas Bourriaud.

Bourriaud’s interest in pansori was sparked by his encounter with the Korean film Seopyeonje, where he discovered the connection between space and sound, and how pansori extends beyond music to convey the resonance of place.

While the biennale remains rooted in the “Gwangju Spirit,” this year’s edition marks its 30th anniversary by broadening its perspective beyond local history to a global outlook.

Bourriaud emphasizes that pansori, literally meaning “the sound of a place where people gather,” reflects the relationship between sound and environment, a concept he seeks to explore through this biennale.

The biennale is divided into three main sections: “Feedback Effect,” “Polyphony,” and “Primordial Sound,” each exploring different dimensions of sound and space.

The “Feedback Effect” section focuses on the impact of industrialization on natural ecosystems, illustrating the effects of crowded and saturated spaces, both in urban environments and in nature.

Beyond the exhibition halls, Gwangju’s historic Yangnim-dong district serves as an extended venue, where the blend of narrow alleys, historical architecture, and modern art installations blurs the lines between urban life and artistic expression.

This year, the biennale welcomed 31 pavilions representing 22 countries, the largest number in its history, and more countries are expressing interest in joining future editions, raising discussions on maintaining quality while managing growth.

The Gwangju Biennale will run until December 1, 2024.

Sayart / Jason Yim, yimjongho1969@gmail.com