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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.


Nguyễn Phương Linh & Trương Quế Chi

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BB2024 2024-11-29 16:36

Nguyễn Phương Linh & Trương Quế Chi
Sourceless Waters: The Whip & The Knife, 2024, whip, knife, fabric, wooden platform, motors, lighting & curtain system, dimension variable.
 
Sourceless Waters: The Whip & The Knife (2024) is an installation made in collaboration. In Nguyễn Phương Linh’s The Whip the mechanical arm lashes with the slow inevitable continuity of inhalation and exhalation. The shadow created by the whip falling onto the fabric heightens the tension and drama of this kinetic installation. At the whip’s height the light in the space is at its brightest, gradually returning to darkness as it descends. Situated under a constant, intense white light a clinical atmosphere is suggested. In Trương Quế Chi's The Knife, a hand-forged knife free-falls onto a wooden counter made from the beams of an old architectural style house in Northern Vietnam, before being retracted to the ceiling. These two works may be entered separately, but share space divided by a light-blocking curtain, which periodically closes during this sequence of motion. The Whip and The Knife move in mirroring tandem through a shared rhythm. The leather whip is soft and soaring; while the knife tip is hard, pointed and plummets. Both operate on automated mechanisms exerting gravitational and centrifugal forces on surfaces using materials contrasting in forms and pliancy. Constant repetition of The Whip's and The Knife's movements in an almost unchanging environment, together with the minuscule, barely noticeable impacts of such movements, invite contemplations on violence as well as resilience, collision and circulation, weight and weightlessness, birth and decay. Each work has its own space which is then conjoined in a flood of red light. This recurring interconnectedness brings to mind the circulatory constriction and dilation of the organs in the body.
 
 
 
 
 
Nguyễn Phương Linh & Trương Quế Chi
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