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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.


Sophia Al-Maria

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BB2024 2024-11-29 17:35

Sophia Al-Maria
Bull and Bear, 2023, diptych pigment print on metallic paper, aluminium frame, dimension variable.
 
Sophia Al-Maria, who works with various media including drawing, collage, sculpture, and film, explores and imagines alternative futures for our capitalist predicament, through storytelling and the power of creating myths. At the Busan Biennale 2024, she presents Bull and Bear (2023), a preparation in photography and sound for a future video-work. The pictures capture the back of a man in a suit, walking through an urban landscape. The man is Richard Quest, a British journalist working for the American channel CNN who acquired quasi-mythological fame through his program Quest Means Business. Quest’s characteristic voice became associated with the fluctuations of the market, hence the title of Al-Maria’s work 'Bull and Bear' referring to the rising (bull) and falling (bear) trends in the financial market. Al-Maria asked Richard Quest to read T.S. Elliot’s The Hollow Men (1925) which forms her new audio work Between the Essence and the Descent (2024). The fragmented poem, alluding to a certain canon of world literature but also to modern life vernaculars, draws an emotional landscape of collapse, brokenness, loss, despair, apathy, and spiritual emptiness in the aftermath of the First World War, suggesting an end of civilisation. By letting Quest read The Hollow Men, Al-Maria creates a powerful association between acquising to the omnipotency of capitalism as the only viable system, and powerlessness of all the great creations of human civilisation referred to in The Hollow Men to infuse life with meaning. At some point the poem references the Buddhist Fire Sermon, learning us to restrain our worldly desires and passions in order to attain spiritual enlightenment.
 
 
 
 
  
Sophia Al-Maria
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