Gwangju Biennale 2014 (review)
Two rusting trailers have been dropped in a busy public square, the doors locked, the windows barred. But peer through the dusty glass and, in the half-light, you can just make out what’s inside: row after row of plastic storage bins, each filled with carefully sorted piles of human bones. One container holds a heap of vertebrae. Another is crowded with tibiae, a dozen or more packed sardine-tight. There are busted skulls in a third, and next to that a collection of shattered mandibles, resting among loosened teeth.