Since the mid-17th century, in literature and in architecture, the folly has been employed as a detour into delirium: nonetheless, a critical medium, oscillating between aesthetic autonomy and social-political potential. As a spatial intervention, the folly can be understood as a rupture, a strategic site questioning the constraints of norms. Gwangju Folly II director Nikolaus Hirsch and curators Philipp Misselwitz and Eui Young Chun have developed a curatorial approach that exploits the ambiguities of a folly as a critical tool of inquiry to address the condition of public space.
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