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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.


Tracy Naa Koshie Thompson

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BB2024 2024-11-29 13:43

Tracy Naa Koshie Thompson
Kimchi-Waakye, 2024, Kimchi, rice noodle, sorghum, vinegar, lemon, and print on matte paper, dimension variable.
 
Kimchi-Waakye (2024) features a wallpaper food-map and a food installation. The wallpaper features mappings developed from microscopic images of napa cabbage Kimchi, a Korean traditional food. Tracy Naa Koshie Thomson uses Digital Elevation Modelling (DEM) and microscopy to create these close-up terrain maps of ultra-processed foods, morphing them into new and ambiguous forms of representation. The food installation on the benches constitutes a post-production of transforming familiar foods of Ghanaian Waakye and Korean Kimchi, into new ambiguous form. Waakye which is made of rice, beans and sorghum; the sorghum gives this food landscape its brown colour. Thompson explores bioplastic technology; with her earlier works transforming styrofoam, petrol, oil paint, polyester mesh fabrics, polyethene and polypropylene plastic. Thompson is interested in the material transformation of foods through various industrial cooking processes and in how non-human agencies including starches and proteins transform through crystallisation, fermentation, and polymerisation. In her work post-production is used to extend these processes further, to emphasise various foods’ plasticity, resemblance to biological matter and to geological terrain. This representation also serves to critique the genre of still life, defamiliarising us from culinary cultural norms and presenting these molecular forms as their own geography.
 
 
 
 
 
Tracy Naa Koshie Thompson
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