Indigenous Voices Shine at Gwangju Biennale 2026 with Skennen'kó:wa Ken? Exhibition
The 2026 Gwangju Biennale is set to be a landmark event in contemporary art, featuring a pioneering exhibition titled Skenen'kó:wa Ken? (Do You Carry Great Peace?). This exhibition, which opens on September 5, serves as a dynamic platform for Kanien'kehá:ka artists and their narratives. Curated by Ryan Rice, the exhibition highlights the work of three notable alumnae from OCAD University: Shelley Niro, Melissa General, and Hannah Claus. Each artist brings a unique perspective grounded in their Indigenous heritage, reflecting the rich tapestry of Indigenous contemporary art.
The exhibition is a critical part of the Canada Pavilion at the Gwangju Biennale, one of the most prominent contemporary art events globally, especially in Asia. With a narrative focused around the theme of peace, the title of the exhibition, ‘Skennen'kó:wa Ken’, is derived from a traditional greeting that embodies mutual respect and recognition—core values of the Haudenosaunee Confederacy.
OCAD University, renowned for its commitment to advancing Indigenous artistic practices, has taken the lead in curating this exhibition. The initiative of presenting such a significant display at the Gwangju Biennale aligns with the broader theme of the event—“You Must Change Your Life”, a statement that emphasizes personal and societal transformation through art. Rice articulates that the promise of peace and stability is not just rooted in grand historical events but is also an essential part of our everyday lives.
This exhibition coincides with OCAD University’s 150th anniversary celebrations, which will run throughout 2026. Ana Serrano, the president of OCAD University, expressed excitement about showcasing Indigenous voices on a world stage—a vital step toward greater cultural sovereignty and recognition.
The works displayed will include a variety of interdisciplinary and lens-based art forms such as photography, video, and installation. These artworks reflect the artists' engagement with their backgrounds and contemporary issues, focusing on themes of rematriation and cultural memory. Niro’s, General’s, and Claus’ practices are interconnected, emphasizing political, cultural, and spiritual dimensions that resonate with the ongoing Indigenous resurgence.
The partnership between Korean and Canadian curatorial efforts enhances the exhibition’s significance, fostering dialogue on cultural identity and shared histories. Lee Sun, chief curator at the Lee KangHa Art Museum—the venue for the Canada Pavilion— highlighted the importance of this exhibition in strengthening ties through mutual support and cultural exchange.
This creative collaboration invites various stakeholders—from artists to cultural administrators—to come together to honor a shared narrative of resilience and innovation in art. As the exhibition unfolds, it serves as a reminder of the vital role that Indigenous practices play in current discussions surrounding justice, renewal, and the future of cultural discourse.
In a broader context, the Gwangju Biennale has been instrumental since its inception in 1995, addressing critical issues tied to human rights and cultural identity. The 2026 edition expands on these dialogues by reflecting on the connections between local experiences and universal struggles for justice. With its compelling narrative and rich artistic expressions, Skennen'kó:wa Ken? stands as a testament to the strength and depth of Indigenous art in the global dialogue on contemporary issues.
This exhibition not only represents a celebration of Indigenous culture but also enriches the art landscape by challenging dominant narratives and integrating diverse perspectives into the global art community. As visitors navigate through the displays, they will undoubtedly engage with the intricacies of peace, identity, and the transformative power of art. With this exciting opportunity, the Gwangju Biennale continues to serve as a beacon of hope and resilience in the arts, encouraging a new era of understanding and respect for cultural narratives.
The exhibition is a critical part of the Canada Pavilion at the Gwangju Biennale, one of the most prominent contemporary art events globally, especially in Asia. With a narrative focused around the theme of peace, the title of the exhibition, ‘Skennen'kó:wa Ken’, is derived from a traditional greeting that embodies mutual respect and recognition—core values of the Haudenosaunee Confederacy.
OCAD University, renowned for its commitment to advancing Indigenous artistic practices, has taken the lead in curating this exhibition. The initiative of presenting such a significant display at the Gwangju Biennale aligns with the broader theme of the event—“You Must Change Your Life”, a statement that emphasizes personal and societal transformation through art. Rice articulates that the promise of peace and stability is not just rooted in grand historical events but is also an essential part of our everyday lives.
This exhibition coincides with OCAD University’s 150th anniversary celebrations, which will run throughout 2026. Ana Serrano, the president of OCAD University, expressed excitement about showcasing Indigenous voices on a world stage—a vital step toward greater cultural sovereignty and recognition.
The works displayed will include a variety of interdisciplinary and lens-based art forms such as photography, video, and installation. These artworks reflect the artists' engagement with their backgrounds and contemporary issues, focusing on themes of rematriation and cultural memory. Niro’s, General’s, and Claus’ practices are interconnected, emphasizing political, cultural, and spiritual dimensions that resonate with the ongoing Indigenous resurgence.
The partnership between Korean and Canadian curatorial efforts enhances the exhibition’s significance, fostering dialogue on cultural identity and shared histories. Lee Sun, chief curator at the Lee KangHa Art Museum—the venue for the Canada Pavilion— highlighted the importance of this exhibition in strengthening ties through mutual support and cultural exchange.
This creative collaboration invites various stakeholders—from artists to cultural administrators—to come together to honor a shared narrative of resilience and innovation in art. As the exhibition unfolds, it serves as a reminder of the vital role that Indigenous practices play in current discussions surrounding justice, renewal, and the future of cultural discourse.
In a broader context, the Gwangju Biennale has been instrumental since its inception in 1995, addressing critical issues tied to human rights and cultural identity. The 2026 edition expands on these dialogues by reflecting on the connections between local experiences and universal struggles for justice. With its compelling narrative and rich artistic expressions, Skennen'kó:wa Ken? stands as a testament to the strength and depth of Indigenous art in the global dialogue on contemporary issues.
This exhibition not only represents a celebration of Indigenous culture but also enriches the art landscape by challenging dominant narratives and integrating diverse perspectives into the global art community. As visitors navigate through the displays, they will undoubtedly engage with the intricacies of peace, identity, and the transformative power of art. With this exciting opportunity, the Gwangju Biennale continues to serve as a beacon of hope and resilience in the arts, encouraging a new era of understanding and respect for cultural narratives.
Topics Entertainment & Media）
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