Lee, Bohyun, Kim, Hongsung, Eleonoor Jap Sam

Unreal Studio

English / Korean

 

This publication has been made possible with the generous support of the Creative Industries Fund NL, Crown-Haiti Confectionery&Foods, Gwangju Metropolitan City, Gwangju Biennale Foundation.

This publication has been published in cooperation with the Gwangju Biennale Foundation. www.gwangjubiennale.org www.gwangjufolly.org

www.kerb.kr

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Founded in 1995 in memory of the April Revolution in 1960 and the May 18 Gwangju Democratization Movement in 1980, the Gwangju Biennale is one of the oldest and most renowned modern art biennales in Asia.

Under the direction of such prominent curators as Yong-woo Lee, Massimiliano Gioni, Okwui Enwezor, Charles Esche, Hou Hanru, Hong-hee Kim, Kwangsoo Oh, Wan-kyoung Dung, Young-chul Lee, Kerry Brougher, Suk-won Chang, and Harald Szeemann, Gwangju Biennale has established itself as a major player in the international contemporary art biennale scene. 

The Gwangju Folly project was initiated as part of the 2011 Gwangju Design Biennale led by co-artistic directors Seung H-Sang and Ai Weiwei. Following its second edition in 2013 with Nikolaus Hirsch, 2016 Gwangju Folly III is conceived by Eui-Young Chunand introduces a series of new follies in the urban space of Gwangju in South Korea.

Under the theme of Folly & Everyday Life – Taste and Beauty, Gwangju Folly III designed verbs to experience taste and beauty.

This book presents the four follies, new commissioned works from architects and artists to challenge the perception of public space: View Folly, GD (Gwangju Dutch) Folly, Cook Folly, Fun Pun Folly and Mini Folly as a sub-folly.

Four different covers focusing on the verbs: see, eat, play and walk.

Gwangju Folly III perceives follies as a new and creative spatial alternative that is able to overcome the contextual limitations of existing urban cities and facilitate greater communication with the public.

The Gwangju Folly Ⅲ Project, thus, attempts to create an unconventional and participatory project where the everyday and the unexpected intersect. 

The design of the book embodies the creative possibility which urban folly can make for the city through unexpected encounter of photography, illustration and typography that evokes the diverse layers of the city. An active use of grid system allows organizing various materials, such as photographs; drawings; maps; and essays from curators, architects, artists, professors in multilingual texts set in both English and Korean. Kerb also created all illustrations and cartography for the book.