"I’ve always hoped that someday we could do something together."
Mizuki Takahashi, a co-curator of the Japan Pavilion, said that through tears after a joint performance by the Korea and Japan pavilions on May 6 (local time) at the Venice Biennale.
Takahashi recalled that about 10 years ago, a candidate for Japan Pavilion curator suggested working together. She said she proposed a plan to create an exhibition with the Korea Pavilion, but it was not selected. “Even so, I kept thinking I hoped we could do something together someday,” she said.
In the Giardini, where the Biennale’s permanent national pavilions stand, the Korea and Japan pavilions sit side by side. Between them runs a long hedge that functions like a border. It is unclear when it was planted. The Japan Pavilion does not want it there, but it cannot be removed.
Choi Bitna, artistic director of the Korea Pavilion, said organizers tried to relocate the trees, but Biennale park authorities refused.
Instead of removing the boundary, the two sides chose to cross it. During the Korea Pavilion’s official opening events, the joint performance highlighted how easily the hedge could be crossed — and how welcoming the exchange could be.
Japan Pavilion co-curators Lisa Horikawa and Takahashi, along with participating artist Ei Arakawa Nash, stepped over the hedge and entered the Korea Pavilion. The Korea Pavilion director and participating artists greeted them with open arms. Officials from both countries raised glasses and shouted “Kanpai,” then exchanged congratulations — “Omedeto” in Japanese and “Chukahamnida” in Korean — and embraced.
The artworks also crossed the hedge. Choi Go-eun’s Korea Pavilion work, “Merdiang,” extended through the hedge and reached the Japan Pavilion. The piece was a joint Korea-Japan project, with financial support from the Japan Pavilion.
The Japan Pavilion’s baby dolls were also invited into the Korea Pavilion. The dolls, described as having been born on March 1 and May 18, hold their arms high in a celebratory gesture.
Choi Bitna said the collaboration aimed to show a forward-looking relationship. “In 1995, Japan made its first official apology” related to historical issues, she said. “They are not denying it, but it can seem as if they are trying to forget. Still, the Japan Pavilion team acknowledged that past and commemorated specific days in Korea, and I think that shows how solidarity can be built.”
The Japan Pavilion also promoted the Korea Pavilion. A Korea Pavilion poster was placed at the Japan Pavilion exit. The Japan Pavilion temporarily closed from 2 p.m. to 4:15 p.m., and staff used that time to tell visitors, “Go see the Korea Pavilion,” and to announce that a joint performance would begin at 4:30 p.m.
Lee Beom-heon, chair of the Arts Council Korea, said he would work to keep the cooperation going. “Today’s performance is truly meaningful,” Lee said, adding that the council agreed with the Japan Foundation, the Japan Pavilion commissioner, to maintain “forward-looking” collaboration. He said the two sides promised to expand cooperation like the day’s performance, including Seoul and Tokyo inviting each other.
* This article has been translated by AI.
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