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Busan Biennale

The Busan Biennale is a biannual international contemporary art show that integrated three different art events held in the city in 1998: the Busan Youth Biennale, the first biennale of Korea that was voluntarily organized by local artists in 1981; the Sea Art Festival, an environmental art festival launched in 1987 with the sea serving as a backdrop; and the Busan International Outdoor Sculpture Symposium that was first held in 1991. The biennale was previously called the Pusan International Contemporary Art Festival (PICAF) before it launched.

The biennale has its own unique attribute in that it was formed not out of any political logic or need but rather the pure force of local Busan artists’ will and their voluntary participation. Even to this day their interest in Busan's culture and its experimental nature has been the key foundation for shaping the biennale’s identity.

This biennale is the only one like it in the world that was established through an integration of three types of art events such as a Contemporary Art Exhibition, Sculpture Symposium, and Sea Art Festival. The Sculpture Symposium in particular was deemed to be a successful public art event, the results of which were installed throughout the city and dedicated to revitalizing cultural communication with citizens. The networks formed through the event have assumed a crucial role in introducing and expanding domestic art overseas and leading the development of local culture for globalized cultural communication. Founded 38 years ago, the biennale aims to popularize contemporary art and achieve art in everyday life by providing a platform for interchanging experimental contemporary art.


Theanly Chov

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BB2024 2024-11-29 13:40

Theanly Chov
Ayuthheya, 2019, oil on canvas, 100x70cm.

Hope, 2019, oil on canvas, 120x80cm.

Vibol, 2019, oil on canvas, 100x70cm.

Channty, 2023, oil on canvas, 100x70cm.

 
Theanly Chov was born in Battambang in 1985, during the Cambodian-Vietnamese War, which was supported by Soviet powers. Chov’s family lived in a house with a bookstore on the ground floor, where Chov found and was inspired by Soviet propaganda imagery, 19th century Russian painting and Cambodian artists of the 1960s, especially Khmer modern artist Neak Dhim.
Theanly Chov’s paintings are pictorial interpretations of the subject’s personal story. These are produced following a conversation about their lives, and painted from posed photographs of people the artist knows from the streets or villages. Often these portraits depict the person with their head raised, as if ascending. A two-coloured background creates a distinct horizon line at the level of the mouth, amplifying the sense of upward motion, or perhaps immersion in deep water. These works suggest the struggle of everyday survival, of finding personal fulfilment, and the emphasis on social mobility and moving forward in a rapidly changing contemporary Cambodia.
 
 
 
 
 
 
Theanly Chov
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