The 2024 edition of the Busan Biennale, called Seeing in the Dark is imagined in the mental space between notions of 'Pirate Enlightenment’ on the one hand and ‘Buddhist Enlightenment’ on the other. We consider these spaces as offering an alternative to the demands for transparency by the surveillance-industrial complex. We liken artistic activity to the fugitive strategy of deception as a way to invoke what theorists Fred Moten and Stefano Harney call ‘fugitive enlightenment’. We see tactics of operating surreptitiously as part of ‘another tradition of cultural experiment, and of perversion’.
