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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.


Yun Choi

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BB2024 2024-11-29 14:17

Yun Choi
SamsungTVGallaxy46” (Background Music: Bitcoin and Black Hole), 2024, ceramics fired at variable kiln soaking duration, copper wires, coins, various metal pieces and metal oxides, online streaming sound that varies in real time, dimension variable.
 
Yun Choi has explored the collective beliefs and emotions embedded in images, objects, and behavioural patterns by borrowing from the common scenery of Korean society and the familiar yet strange forms of popular culture. SamsungTVGalaxy46” (Background Music: Bitcoin and Black Hole) (2024) is inspired by Samsung Electronics, which has continuously released products under the name ‘Galaxy’ with the name ‘Samsung’ meaning ‘three stars.’ The six panels are essentially televisions cast baked with a bit of coin, copper wires, various metals, and metal oxides in black soil. When zinc oxide, quartz and all other materials meet, crystals form and grow during the ‘soaking hour,’ a period where a certain temperature remains still. These paired panels were set to different soaking times, each embodying a distinct temporal essence. In contemporary society, people are engrossed in ‘screen time,’ staring at countless displays rather than gazing at the starry night to measure time. The 5 petabytes of data representing the M87 black hole, known to have a mass 6.5 billion times that of the Sun, is easily transformed into a mere few kilobytes of image circulating on the web. The 30-second black hole sound is consumed as an edited version under '10 hours of white noise listening'. Yun Choi approaches moving images with the time of the deep underground and the universe, far removed from the earth's surface, by imagining the minerals sending signals behind television screens. SamsungTVGalaxy46” paired with (Background Music: Bitcoin and Black Hole), is streamed online during the exhibition period. The audience, receiving data with a series of delayed times and various noises, decides which world to connect to through a period of immersion. The oxidised wires and melted coins embedded in the fake television, SamsungTVGalaxy46” (Background Music: Bitcoin and Black Hole) (2024), resemble a shamanistic object akin to a bronze mirror, positioned opposite to fetishism. It attempts to capture the vastness that eludes grasp, presenting distant information in darkness rather than light. This work, exhibited side by side in the basement Vault Museum of a building of the old Bank of Korea, where the internet network is inaccessible, and in the web space that gathers real-time data, questions the current state caused by modern capitalism, initiated by pirates who dreamed of instant wealth and freedom.

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