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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.


Sriwhana Spong

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BB2024 2024-11-29 17:24

Sriwhana Spong

Vague Dog, 2024, HD video and 16mm transferred to HD video, 11min.

Grief-worn Dog, 2024, nylon netting, metal bobby pins, unmeasured ribbon, unmeasured dimensions.

Grim Lion, 2024, nylon netting, metal bobby pins, unmeasured ribbon, unmeasured dimensions.

Aged Captive, 2024, nylon netting, metal bobby pins, unmeasured ribbon, unmeasured dimensions.

Robe of Showering Stones, 2024, nylon netting, metal bobby pins, unmeasured ribbon, unmeasured dimensions.

Maera’s Dusky Form, 2024, nylon netting, metal bobby pins, unmeasured ribbon, unmeasured dimensions.

 
Vague Dog (2024) is filmed using a thermal-imaging camera which tracks the body heat of two pets belonging to Sriwhana Spong’s friend, artist and medium Alice Walter. A recitation of court cases involving dogs, which assert different legal definitions of personhood, and a score by composer and gamelan musician Aris Daryono are heard in the background. The work brings together an instrument designed for military purposes—used for precision navigation, surveillance—with poetry, energetic and sensory knowledge. Questioning the space between property and person inhabited by dogs, it foregrounds the vagaries in all acts of translation and self-recognition.
Unmeasured ribbon, traditionally used in Southern Italian magic rituals, determines the lengths of Grief-worn dog (2024), Grim Lion (2024), Aged Captive (2024), Robe of Showering Stones (2024), and Maera’s Dusky Form (2024), thereafter listed as having unmeasured dimensions. The starting point for each sculpture is a negotiation with shopkeepers in Busan and London who cut the lengths of ribbon at random, altering the established contract of buying and selling. These ribbons form the vertebrae of each sculpture. The works’ names reference a vision of the Trojan prophetess Cassandra, in which queen Hecuba is transformed into a dog as a punishment. Cassandra lists her metamorphoses: mother, victim, predator, outcast, and ghost.
 
 
 
 
 
Sriwhana Spong
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