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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.


Yoko Terauchi

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BB2024 2024-11-29 17:08

Yoko Terauchi
One is Many Many is One, 2024, paper, plaster, paper: 137x2500cm, plastercone: 7x7x4.6cm.

Pangaea, 2024, washi paper painted acrylic on the edge, paper: 24.2x24.2cm, ball: 3.5x3.5x3.5cm.

 

When we count something as ‘ONE’
this is the beginning of dividing the world
which in fact One as a Whole.
But, can we see the whole of the Universe? Can we count ONE?
 
This poem, which accompanies Yoko Terauchi’s site-specific installation, might suggest connections with the teachings of the Buddha through its paradoxes on the subject of oneness. One is Many Many is One (2024) ‘appears’ as a long scroll of red paper clipped to the wall as a frieze with many holes following a rhythmic pattern. When the scroll is rolled up, we learn that there is only one hole carved through the paper roll, which is cone-shaped. By pouring liquid plaster into the hole and showing the cast in proximity to the scroll, Terauchi gives us a clue as to how the work is done. When unfurled and installed on a wall, the holes the paper displays are different sizes, suggesting a musical pulsing and resonating movement. Yoko Terauchi’s position is critical of a dualistic worldview in which subject and object are divided. It only creates concepts of conflict. Terauchi’s work assumes the limitation of perception and the uncertainty of our positions. This perspective sees beings simultaneously as single entities and as embodiments of all. It challenges the conventional understanding of the world through opposing concepts by dissolving their boundaries through her conceptual site-specific installations. Another work by Terauchi, Pangaea (2024), also demonstrates our limitation of perception by using two identical square sheets of paper painted black along the side (thickness) of the paper. A ball placed in front of the square paper with irregular black lines across its surface is made of scrunched-up paper. The randomly shaped broken lines on the surface are, in fact, a single continuous line running deep inside the ball. There are no distinctions between the front and back of the paper- such distinctions are nullified. No matter how close we approach the ball, it appears as nothing more than a shape divided up by interconnecting lines. Because what we are looking at is only a part of what is, in fact, a continuous line.
 
 
 
  
 
Yoko Terauchi
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