Focus countries: Japan and South Korea

Frame’s special focus for 2013–2018 is to create networks between Finnish, Japanese and South Korean contemporary art professionals and organisations.

In the period from 2013 to 2015, Frame has invited several contemporary art professionals from Japan and South Korea to visit Finland. Since 2014 we have been part of Port Journeys, a Yokohama-based international artist network bringing together port cities around the world. In 2015 we invited the Finnish artist-run gallery Forum Box to join the network through an open call.

In 2015 we organised an open call for the Akiyoshidai artist residence with the Finnish Institute in Japan. In March 2016 Frame organised a study visit to Tokyo and Seoul. In 2015–16 we were partners in the HIAP Helsinki International Artist Programme’s project in Asia and in 2018 HIAP’s Gwangju Biennale Pavilion Project, with the support of Gwangju Biennale Foundation.

2018 Gwangju Biennale Pavilion Project HIAP

HIAP – Helsinki International Artist Programme participates in the Gwangju Biennale’s first Pavilion Project with the exhibition Fictional Frictions. Curated by HIAP’s Jenni Nurmenniemi, Fictional Frictions presents new commissions and recent artworks by South Korean and Finnish artists Jungju An & Sojung Jun (Black Night), Maelee Lee, Mire Lee, Nestori Syrjälä and Elina Vainio.

The exhibition consists of sculptural and sound installations touching upon aspects of the theme Imagined Borders. Five artists will highlight co-dependencies and continuums instead of ruptures, dissolving the dichotomies between past and present, individual and collective, micro and macrocosm in relation to the environment of the Mugaksa Temple in Gwangju.

“The exhibition avoids strict storylines, coherent narratives, and the politics of representation, and calls instead for careful listening to the faintest signals of change within the hum and rumble of the world”, says Curator Jenni Nurmenniemi. “Utilising fiction and embodied experience for knowledge- and world-building, the participating artists challenge traditional historiographies.”

In the exhibition, unfathomably slow, massive processes occurring in geological time intertwine with dramatic events that seem to transform societies in an instant, as well as with metamorphoses of much smaller scale. When discussing change in the early 21st century, ecological disquiet cannot be easily bypassed. Climate change disrupts conventional understandings of scale, as the most mundane activities of individual human beings turn into political decisions that have global impact.

 

Artists and artworks

Gwangju-based artist Maelee Lee’s (b.1963) new sculptural installation makes palpable the tension between personal and collective ideas on what constitutes a historically significant event or a valued landscape. Her artwork resembles an archaeological excavation, much like the one now in Lee’s childhood hometown near Gwangju.

Elina Vainio (b.1981) from Helsinki, Finland, constructs large-scale sand installations that contain subtle hints of civilisations past, present, or possibly yet to be. Through her sparse arrangements of largely abstract sand casts or nearly identifiable found objects that either stand on or emerge from under the grainy expanses of evenly sifted sand, Vainio points to notions of impermanence and volatility inherent in any a given society and its ways of life.

Another Helsinki-based artist, Nestori Syrjälä (b.1983) focuses on the changes that human activities are causing to the climate and ecosystems across the planet. Syrjälä’s works often resonate with the anxieties caused by humans’ inability to change their course of action.

In Mire Lee‘s (b.1988) sculptures borders remain unclear.  Even when coming close to pure abstraction, they seem capable of gnawing at boundaries and taxonomies of all kinds. They leak and bleed into each other, often consisting of moving parts with unpredictable choreographies.

Under the band name Black Night, artists Jungju An (b.1979) & Sojung Jun (b.1982) have recorded their first full-length album titled Mountain of Delusion. Their LP record has six songs on each side forming a metaphoric landscape of the recent past in Gwangju. One side is derived from the personal, while the other emerges from prevailing common perspectives.

 

Exhibitor, venue and partners

HIAP fosters international dialogue with the aim of initiating and supporting experimentation, research, and cross-disciplinary creativity across national borders and diverse contexts of art. Every year HIAP offers 70–90 art professionals from around the world funded residencies of 1-3 months.

Located in the 5.18 Memorial Park in Gwangju, Mugaksa is an urban Buddhist Temple of Jogye Order. The temple is also a centre for cultural activities without any religious barriers. It hosts a book cafe and gallery, as well as a traditional tea house. The temple is also known as a supporter of young artists from the region.

2018 Gwangju Biennale Pavilion Project_HIAP is realised by HIAP – Helsinki International Artist Programme at Mugaksa Temple with the support of Frame Contemporary Art Finland, Ministry of Education and Culture, Finland and Embassy of Finland, Seoul.

 

Press inquiries

Head of Communications Laura Boxberg, Frame Contemporary Art Finland: tel: +358 44 739 6079 / laura.boxberg@frame-finland.fi

 

Fictional Frictions logos

 

 

 


Mugaksa temple in Gwangju. Image: Choi Hyeanggeun.