[Feature] "Revitalizing Jeonnam's Islands Through Art"... Keys to Success for the Triennale Experiment

The “Southwest Coast Island Belt Triennale” (tentative name), led by five cities and counties in South Jeolla Province, is being recognized not merely as a cultural event but as a strategic response to regional decline. The initiative aims to unite the islands along the southwest coast into a single artistic zone, seeking to address both population decline and economic stagnation at the same time. However, experts note that its success depends on how much it can overcome structural limitations.

This project involves Mokpo, Haenam, Wando, Jindo, and Sinan, and is centered on hosting an international contemporary art event every three years. With the inaugural edition scheduled for 2030, it is a large-scale effort to transform the entire archipelago into an “open-air art museum.”

Last March, Mokpo City, Haenam County, Wando County, Jindo County, Shinan County, and the Korea Island Promotion Institute held the '2026 W.I.N. (World Island Net) Forum' and shared various opinions on the development of local islands.
[Photo by Korea Island Promotion Institute]

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The core of this concept is “regeneration,” not just “exhibition.” The central strategy is to convert unused facilities such as closed schools and vacant houses into exhibition spaces, and to turn natural landscapes into works of art, thereby making the islands themselves a form of content. The goal is not just to attract tourists but to increase the so-called “resident population” through artist residencies and local participation.

This approach is fundamentally different from existing festivals.

It is a long-term project to improve the settlement environment through art, moving away from short-term, visitor-focused events. Economic analyses present strong justification for the project, with potential production inducement effects of approximately 300 billion won and value-added effects of around 130 billion won.

The main benchmark for the five cities and counties is Japan’s Setouchi Triennale.

The Setouchi Triennale is regarded as a successful model that transformed neglected island regions into world-class tourist destinations by combining art with local development. However, there are concerns that directly transplanting the Japanese case to South Jeolla is not feasible.

A Setouchi official delivers the keynote speech at the '2026 W.I.N. (World Island Net) Forum' held last March. [Photo by Korea Island Promotion Agency]

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The Setouchi model was built on the long-term investment of a private company (Benesse Group), a stable maritime transport network, and easy access from metropolitan areas. For visitors, traveling by ferry between the islands to view artworks is part of the experience. Ferries depart from every port, ensuring convenient access to the venues at all times.

By contrast, the southwest coast of Korea suffers from relatively weak transport infrastructure and limited support for extended-stay tourism. Therefore, building a “Korean-style model” is crucial. This means going beyond simple art installations and developing an integrated plan that combines transportation, accommodations, and content.

The key to the success of this project is “local government cooperation.” The strategy is to integrate the island resources of individual municipalities, which have limitations on their own, to achieve economies of scale.

However, with five different administrative bodies involved, coordination costs are expected to be substantial.

There is a constant risk of conflict regarding the consistency of event operations, budget allocation, and brand management. As each island’s culture in South Jeolla is similar yet distinct, these differences could become sources of discord.

This is why institutionalizing the project so it can be implemented stably by political and other stakeholders is considered a critical variable.

One of the most important conditions for the event’s success is “post-event management.” If it ends as a one-off event, the impact will inevitably be limited compared to the substantial budget invested.

To realize the vision of “permanent exhibitions” and “year-round operation,” it is essential to secure funding for maintenance and repair as well as staff for ongoing operations. If community-based art initiatives involving local residents remain merely formalities, they may trigger backlash from the community.

Ultimately, the project’s success will depend not on the number of tourists, but on how many people it can encourage to stay for extended periods. Key tasks include establishing artist residency programs, developing long-term stay initiatives, and creating art routes to enhance mobility between islands.

An official from Mokpo City stated, “We will create a new artistic ecosystem that integrates the islands’ nature, culture, and everyday life,” and emphasized, “This is not just a festival, but a project that will transform the region’s future structure.”

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