Controversy over the name change of the Gwangju Biennale: Independent bookstore "Youth's Book" raises questions

(Central News Agency reporter Yang Qifang, Seoul, 21st) In response to the controversy over the Gwangju Biennale Foundation’s decision to rename the Taiwan Pavilion to NTMoFA, the Gwangju independent bookstore "Youth’s Book" also spoke out, "Isn’t it the role of the Gwangju Biennale to allow artists to freely create a space for expression?" Bookstore representative Lim In-ja also hopes that the Gwangju Biennale will not become a shameful event.

Lim In-ja (transliteration) is the representative of the Gwangju independent bookstore "Boy's Book". The name of the bookstore is taken from the novel "The Boy Is Coming" by writer Han Kang describing the May 18th Incident. The bookstore has long introduced books related to unresolved incidents and groups that have received less attention through the bookstore, and has won the Korean Minister of Culture, Sports and Tourism Award.

The statement stated that after reading the statement released by the Gwangju Biennale, many questions arose. Lim In-ja believes that now in 2026, operating a "national" pavilion in an art event such as the Biennale is itself a modern approach; but on the other hand, it can also become a mechanism to rethink or raise questions about the boundaries of "country" through art.

Lim In-ja bluntly said, “I am surprised by the fact that the national pavilions of various countries are operated through the approval of the embassy or the Ministry of Culture of each country. In other words, art is carried out under the approval of the state. I am also surprised that the Gwangju Biennale operates the national pavilions in this way.”

Lin Renzi asked, "Shouldn't the Gwangju Biennale be able to explain to various countries what the meaning of art is beyond the boundary of 'country'?" She believes that the significance of the national pavilion in the Gwangju Biennale is not to determine what a country is, but to become a place to raise questions through art.

Lin Renzi questioned, "What I want to ask is, under this vision of the national pavilion, isn't it the role of the Gwangju Biennale to allow artists to freely create a space for expression?"

In addition, Lim In-ja also pointed out that the position statement of the Gwangju Biennale is only based on the contract. Unilateral claims are not censorship, but there is no consideration of how the censorship actually occurs. "I think there should be more detailed process explanations, future plans and inspections. As a Gwangju citizen, I hope that the Gwangju Biennale will not become a shameful event."