Jeonnam International Sumukh Biennale Concludes Two-Month Journey, Affirms Status of Jeonnam’s Culture and Arts

The Jeonnam International Sumukh Biennale concluded its two-month journey on the 31st of last month. Provided by Jeonnam Province

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The 2025 Jeonnam International Sumukh Biennale came to a grand close on October 31, earning praise for further elevating the global status of traditional ink painting and the cultural and artistic standing of Jeonnam Province.

Now in its fourth edition, the Biennale presented a feast of ink painting that blended tradition and modernity, as well as local and global perspectives. It was evaluated as marking the full-fledged entry of Jeonnam’s ink painting aesthetics into global art discourse, once again affirming its status as the province’s leading international art event.

According to Jeonnam Province, this year’s Biennale was held under the theme "Neighbors of Civilization: Somewhere Over the Yellow Sea," featuring 83 artists (or teams) from 20 countries. Over 300 works were showcased, offering contemporary reinterpretations of the essence of traditional ink painting.

From August 30 to October 31, the Biennale took place across Mokpo, Jindo, Haenam, and other areas of Jeonnam, drawing a cumulative audience of approximately 440,000 visitors, which demonstrated the high level of interest in Namdo’s ink art.

The exhibition was organized in a trumpet-shaped structure, designating Haenam as the "root," Jindo as the "stem," and Mokpo as the "point of globalization." This allowed for a diverse array of works that spanned from traditional to contemporary ink painting.

Notably, at the Haenam Gosanyoonseondo Museum, the original "Portrait of a Horse" by Gongjae Yoon Du-seo (1668-1715), a leading late Joseon dynasty ink painter, was unveiled to the public for the first time. This drew many visitors eager to witness the brushwork of the artist renowned for his horse paintings.

The Namdo Traditional Art Museum in Jindo featured an exhibition highlighting five key figures in modern and contemporary Korean art: Lee Ungno, Suh Seok, Park Saengkwang, Hwang Changbae, and Song Sunam. Lee Ungno’s "Abstract Characters" series, Park Saengkwang’s "Mudang 5," and Hwang Changbae’s "Untitled" collectively showcased the experimental spirit and modern transformation of Korean painting.

The Mokpo Indoor Gymnasium, newly introduced as a Biennale venue, was transformed into a contemporary exhibition space with large-scale partition walls. Works that expanded the possibilities of ink painting through experimental media captivated visitors, including Jeon Gwangyoung’s "Aggregation 001-MY057," which recreated a temple using hanji and antique books; Polish artist Przemyslaw Jasielski’s "remember(me)," where the figure of a worker appears and disappears via hydraulic devices and ink; and Hwang Ingi’s "Old Wind," a recreation of "Dream Journey to the Peach Blossom Land" using LEGO bricks.

The Jeonnam International Sumukh Biennale thus presented a "new wave of ink painting," blending not only traditional ink painting but also installation art, media art, and video-various modes of expression from East and West. The spirit of ink painting met contemporary technology and diverse cultures, establishing Namdo as a cultural platform that connects Korea and Asia with the world.

Within the Korean art scene, where most biennales are under the influence of Western art, the Sumukh Biennale was recognized for redefining and establishing its identity as the world’s only exhibition that focuses intensively on East Asian aesthetics in a contemporary context.

Visitors shared their impressions, saying, "Standing quietly before a painting, I could catch my breath and look into myself in the empty spaces," and, "The spreading of ink on the screen moved like waves, with light flowing above-it was not just viewing a painting but experiencing a walk inside ink painting."

Beyond the exhibition, interactive cultural and artistic events combining academic, educational, and experiential programs also received enthusiastic responses. An international academic symposium, "Innovation in Tradition and Expansion of Materials: How Ink Painting Operates in Contemporary East Asian Art," brought together nine experts from Korea, China, Japan, and other countries to discuss strategies for the global expansion of ink art.

A special lecture by the Biennale’s artistic director was offered to students of Chonnam National University and Mokpo National University, sharing vivid experiences from the exhibition site, visions for the arts and culture sector, and insights into the challenges and directions of exhibition planning.

Kim Eunyoung, CEO of the Jeonnam Cultural Foundation, stated, "This Biennale became a turning point for sharing the value of traditional ink painting with the world and communicating with future generations through a contemporary lens. We will continue to connect artists and audiences at home and abroad, strengthening our status as the world’s only ink painting biennale."

Based on the achievements of this year’s Biennale, Jeonnam Province and the Jeonnam Cultural Foundation plan to begin preparations for the 2027 Biennale, promote the establishment of the Jeonnam International Sumukh Biennale Art Center, and actively pursue mid- to long-term development strategies such as expanding international ink painting exchanges and educational programs.

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