Abstract
This research aims to discuss how the third Jeju Biennale entitled “Flowing Moon, Embracing Land” represented “climate change” and the “object-oriented thought.” Examining Timothy Morton’s theory and the strategies of biennale together, this research focuses on the way in which the biennale combined “object-oriented ontology” with “Eastern philosophy” and a “mythic world.” Morton coined the term “hyperobjects,” which are so massively distributed in our time and space like global warming or the Covid-19 pandemic. He defined the present that we observe such hyperobjects as the “age of asymmetry” and discussed today’s artistic features with Hegelian aesthetics. Particularly Morton’s discussion of animism provides us with a fresh perspective to the ontological equality between humans and non-humans, as well as contemporary art. As a result, this research demonstrates how the biennale represented the gradual and diverse approaches to the ontological equality of life and non-life, from animals and plants to things.
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