Flickering Shores, Sea Imaginaries, this year’s edition of the Sea Art Festival, is inviting us to rethink our relationship with the sea, referring to the beauty but at the same time, the fragility of our shores, and exploring alternative frameworks and visions for engaging with the ocean and marine environments.
            The sea is deeply embedded in our lives and capitalist society, a vital source for our survival, but also a vast industry we exploit for food, medicines, energy, minerals, trading, travel and so on. But increased human activity, from extensive cruise tourism, shipping and overfishing to nuclear testing, pollution and deep-sea mining have been plaguing the sea, having a huge impact on marine ecosystems and habitats.
            Instead of viewing the sea from the coast as a divided and abstract surface for moving around commodities, Flickering Shores, Sea Imaginaries reminds us that we are part of this body of water. This year's Sea Art Festival aims to explore new relationships with the sea and its ecologies, enabling spaces for cooperation, collective visions and synergies as a call to resistance and restoration.
Flickering Shores
Sea Imaginaries



                                            STUDIO 1750 (Kim Younghyun, Son Jinhee) is a project group that expresses freedom without any restrictions concerning materials or locations, and adds artistic imagination to everyday life. Their works are mainly based on the theme of a hybrid culture that originates from reality and the transformation of everyday objects, examining questions ranging from trivial curiosities to the unknown future. They propose to see things differently by shifting the meanings, perspectives, and functions of objects, while at the same time deconstructing/reconstructing various cultures and transforming/reorganizing everyday objects. They currently live in various places around Korea, engaging in bold initiatives for change and continuing their experiments to expand the framework of art.                                                                                    


                                            Calypso36°21 is a women-led, French Moroccan collective that was created in Rabat in 2018 and founded by Zoé Le Voyer, Justine Daquin, Manon Bachelier, and Sanaa Zaghoud. The collective is named after the coordinates of Calypso Deep, 36°34′N 21°8′E, the deepest point of the Mediterranean Sea, which is located in the Hellenic Trench in Greek waters. Now headed by Sanaa Zaghoud and Justine Daquin, the collective has developed a curatorial, transdisciplinary, experimental, and participative approach. An itinerant research program imagined and produced by the collective called Out.of.the.blue. looks at the knowledge production processes that shape the comprehension of (liquid and solid) Mediterranean territories.                                                                                    

Seema Nusrat

                                            Based in Karachi, Pakistan, Seema Nusrat finds her creative muse in the bustling energy of her urban metropolis. With a deep-rooted fascination for urban life and the interaction between existing and imposed urban landscapes, she seeks to understand the complex relationship between people and the environment around them. Nusrat embraces a collaborative work method involving artisans and technical experts from diverse backgrounds, enhancing the depth and richness of her artwork and imbuing it with layers of cultural significance and craftsmanship. Nusrat’s work invites contemplation, urging audiences to question the underlying essence of their urban surroundings and the lives pulsating within them.                                                                                    

Liquid Time

                                            Liquid Time (Jacob Bolton & Miriam Matthiessen), a research duo working around shipping, finance, and the temporalities of maritime worlds, was established in 2023. Jacob Bolton is an architectural researcher interested in supply chain violence and resource struggle. Miriam Matthiessen is a researcher interested in critical logistics and urban political ecology. Together with Eliza Ader, they also run the Abandoned Seafarer Map, an online (counter)-mapping project tracking the systemic abandonment of seafarers by ship owners and the shipping industry at large.                                                                                    

Eunhae Jung & Zune Lee



Floating Fragments

Seema Nusrat
                                        What is the impact of our accelerated urban and suburban development on the environment, nature and heritage? How much more can urban development expand into natural habitats without disturbing the equilibrium?

Today, the world’s population is three times larger than in the mid-twentieth century, and in November 2022, the globe’s population reached 8 billion people. With increasing numbers of people also comes an inevitable growth and growing demand for urban development, and while cities become densely populated, they expand into rural peripheries.

Floating Fragments serves as a commentary on the swift and uncontrolled growth of urban development. With an increasing demand for space to accommodate a fast-growing population, the expansion of cities has not only disturbed the delicate equilibrium of natural habitats but it has also obscured our cultural heritage.

The artwork draws inspiration from local architecture, and in particular traditional roof tiles, presenting us with a partially submerged roof over water, and creating an unsettling perspective. This prompts us to reflect on the current trajectory we are navigating, highlighting the discord between urban development and the preservation of nature and heritage.

The artwork also calls attention to the risk of flooding, the impact of which is being felt in many areas and communities across the world, and is likely being exacerbated by climate change. As we continue to warm the planet with greenhouse gas emissions, and water warms and expands, and as sea levels rise, the frequency and intensity of extreme flood events,                                    

Ilgwang Swing

Mongjoo Son
                                        Finally, I breathe deeply facing Ilgwang Beach. This is a moment when you encounter a space that invites you to relax and let go, forgetting about tension and time.

Mongjoo Son’s Ilgwang Swing is such a space; a swing pavilion made of objects found in Busan and Ilgwang that invites visitors to interact with it and feel liberated. The artist, having collected objects that usually float on the sea, has stacked them together to create the swing pavilion structure, which is made to look like it’s breathing, inhaling, and exhaling. She portrays the constant movement of the buoy as the movement of a swing. And she invites visitors to move along with this breathing, inhaling and exhaling as they use the swing.

Mongjoo Son creates this swing for adults in particular (although children are also welcome to use it), as adulthood often means the end of play that brings joy, stimulates our imagination, and helps us adapt and solve problems. Play can also connect us to others, and Mongjoo Son’s swing here enables us to take our feet off the ground and reality for a while to feel like floating, and move along with the sea.

Mongjoo Son’s large-scale and dramatic structures offer a reimagining of fluidity while enabling us to imagine new stories around a place. Ilgwang Swing becomes such a space inviting us to connect with and reimagine stories about the sea.                                    

Echo, Filled in the Sea

Kim Doki
                                        Echo, Filled in the Sea is an installation in the shape of a net that spans 8 meters in width and 4 meters height. The net is created based on stories of local residents. It is intricately woven with pearls and beads. The round and luminous pearls symbolize precious moments, emotions, and memories. Additionally, the arrangement of pearls, along with elongated beads, form Morse code messages, encoded text characters in sequences of signal durations. Each pulse of the Morse code represents a message written for someone close, who can no longer be here — a message for someone from the past and long gone.

The net is suspended above the beach, swaying freely at the boundary between the sea and the sky. It reaches out toward the distant sea, a symbol of longing, as delicate strands of the net are intertwined like outstretched hands.

The hidden voices within the encrypted messages in the delicate threads of the net yearn to reach the souls of those who are no longer by our side, while reminding us that the sea is a place of hardship and precariousness for many people. As we gaze upon the transparent glow of pearls and beads, we offer a prayer that they might echo back to us.                                    

The Seasteaders

Jacob Hurwitz-Goodman
                                        While our oceans already face a huge amount of stress from climate change, plastic pollution, oil spills and over fishing, how can proposals for sea floating dwellings be sustainable or non-threatening to marine ecosystems?

Seasteading, the concept of creating dwellings floating at sea, colonizing oceans and bypassing territories controlled by governments, has been around for a long time. Floating structures anchored in international waters, beyond the "territorial sea" of any country, have included refitted oil platforms, modified cruise ships, or custom-built floating islands and structures to name a few.

Jacob Hurwitz-Goodman and Daniel Keller’s film The Seasteaders documents the first Seasteading conference in Tahiti, talking with Seasteading evangelists like controversial author Joe Quirk and Seasteading Institute executive director Randolph Hencken to get firsthand accounts of the Seasteader’s beliefs and visions for an aquatic future. While much remains to be worked out, not least of all the fundamental problem of the place of “shesteaders,” the Seasteaders hope they can float on changing tides as they colonize the world’s waters.

Founded in 2008 by former Google software engineer Patri Friedman with financial backing by PayPal founder Peter Thiel, the Seasteading Institute envisions a fluid world, where governments are selected in an open market and climate change can be “hacked.” Seeing rule by the majority as ineffective and oppressive, the Seasteaders propose a libertarian future of floating micro-governments, where user-citizens can detach and rejoin at will and law looks less like constitutions and more like software. To implement their plan for a nautical future, the Seasteaders have begun working with the government of French Polynesia to build the first floating islands in a special economic zone off the coast of Tahiti, after facing large-scale public opposition in Honduras.

Seasteading evangelists, in a similar way to Silicon Valley techno solutionists, are presenting the society as a system that can be modified, managed or controlled. A group of entrepreneurs proposes to create new markets and worlds that fit their needs for a rules-free society. But while these initiatives present floating societies as solutions to housing needs, environmental challenges or a way to escape badly governed nations, how can we know for sure that these sea structures are more than tax avoidance bubbles or extravagant retreats for the rich?                                    

Between Light and Darkness

Cho Eun-Phil
                                        What does a boat represent?

The night is a time when objects that are clearly visible during the day become shrouded in the shell of darkness, connecting through personal imagination. It offers an experience of the unfamiliar, guiding us through vague boundaries with strange and fantastical feelings. Based on these thoughts, Between Light and Darkness intends to explore things that can be sensibly defined in a conventional manner, yet viewed from a different dimension, it aims to reveal them as ambiguous, peculiar or uncanny.

The blue lace used by the artist to cover these boats forms the outer layer of this work, and blue is a color with a heavy presence in this environment between the sea and the sky. But blue also carries the significance of darkness. Darkness, where light is lost, momentarily sets aside the clear existence of familiar objects we know and focuses on landscapes and objects in the dark, opening up a new sense and way of seeing them.

A boat at sea is a common and familiar sight, and an object with a distinct and unique name. In a place like Ilgwang, a boat is a ubiquitous object that we rarely pay attention to. Ilgwang (sunshine in Korean), where this artwork is located, is said to be the place that receives the sunlight first. By enveloping the boat in blue lace during this brief overlap of light and darkness, the boat in the dark temporarily sets aside its clear existence and meaning, becoming a subject that invites us to imagine alternative meanings. While the lace surrounds the entire form of the boat, it simultaneously reveals parts of it hidden beneath the patterned fabric. Like skin, the lace covers the object, making it opaque but also accentuating the subtleties of it hidden underneath.

Seen yet unseen, an everyday object becomes open to new interpretations and stories. Is this the representation of a journey or a passage? A journey at its beginning or the end?                                    

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하이퍼콤프ㅣ10분 13초ㅣ드라마
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