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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.


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BB2024 2024-11-29 17:04

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The Silver Singularity, 2024, mixed media, dimension variable.
 
The Silver Singularity (2024), commissioned for the Busan Biennale 2024, is its own hacking into reality through alternate timelines to unleash ‘Happy Dystopias’ into our Neo-Biedermeier* age. In der Ruhe liegt die Kraft: unlocking hidden potentials and perspectives. Creak. As the course is set, the work forks off clustered timelines at the exact moment when activist Carlo Giuliani was shot dead at the G8 anti-globalisation protests in Genoa (2001-07-20/17:27h). This crucial event triggered a pandemic of passivity, crashed reality, artificial imaginations, and spaghettification. In The Silver Singularity’s fused installation, a feral, conductive, and audible forest cohabitates dark silver-ceramic imprints. Hooked into a classic political thriller, combined with a covert website, the work unifies diverse realities into a contemporary saga. Folded out silver-grey-green point clouds gently puncture the uniqueness of places and simplicity of time. Wow! Statistics. The rules don't apply anymore! Separate pasts in front of us, fruity futures invisible behind us. This introspective work marks the final project of the universal Happy Dystopia cycle (2020-2024), a series of soft conceptual hacks and dirty synthetic organisms, and is the launching platform for UBERMORGEN’s upcoming Radical Universalism cycle (2025-2030).
*Biedermeier: A style that emerged in German literature, visual arts, and music from 1815 to 1848, characterised by simplicity, conservatism, and a lack of ambition for artistic achievement, often seen as monotonous and old-fashioned.
 
 
 
 
 
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