스킵네비게이션

Archive

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.


Shooshie Sulaiman & I Wayan Darmadi

Read 372

BB2024 2024-11-29 17:26

Shooshie Sulaiman & I Wayan Darmadi
PETA - One cloud, nine drops of rain, 2024, mixed media installation (wood sculptures, hokora, MAP on paper, handmade books, ginko plant), dimension variable.
 
Shooshie Sulaiman often uses materials including earth, rubber sap, plants, flowers and some ash-based pigments and trees, asserting an inextricable collaboration between humans, landscape and the natural world. Now, Sulaiman focuses on learning and unlearning Nusantara cosmology, geography and spiritual intellectuality. Nusantara refers to the Malay archipelago. I Wayan Darmadi has worked with Sulaiman since 2013, as the collaborative entity named as Getah Bening. An Indonesian term for lymph, getah bening metaphorically alludes to the lymphatic system’s functions, circulating oxygen and nutrients but also sometimes spreading pathogens. The collective embraces the contradictory relationship between natural and cultural forces, often juxtaposing benign imagery of political intent. They started with a few rubber trees ephemeral carving in 2013, 2015; both artists practised the Nusantara routine of aesthetics as receiving and transmitting an energetic point by using wood sculptures and landscape in tapping the ‘Petanda’ (signs of the Cosmos). In PETA-One cloud, nine drops of rain (2024), Shooshie Sulaiman and I Wayan Darmadi’s collaboration overlap their intentions by a journey made together to a specific geography across Southeast Asia, Japan and now Busan, collecting woods, making objects of reason, positioning a ritual site, making new stories and meeting people. The work is a sequence to another piece in Lazarus Island, Singapore titled Kancil Mengadap Beringin, Floating Nipah Islands in Muar River Malaysia, and NewLandskap Foxes Shrine for SEA people in Onomichi Japan.
 
 
 
 
 
Shooshie Sulaiman & I Wayan Darmadi
TOP