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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.


Nathalie Muchamad

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관리자 2024-12-02 11:14

Nathalie Muchamad

ENRIQUE, 2024, wax and colour on cotton, clay with straw and cloves, paint on stainless steel mirror plate, dimension variable.

 

Starting from the question: ‘who pirated history?’ Nathalie Muchamad’s installation ENRIQUE (2024) is a proposition to give place to those absent from the official history of great discoveries. Her installation includes a batik patchwork of flags, a trail of clay packed in coconut fibre and pinched with cloves, and a memorial metal plaque. Through these components she turns our attention to Enrique de Malacca, born around 1495. He was the historical Portuguese explorer Ferdinand Magellan’s slave and interpreter, originally hailing from Sumatra. Magellan took Henrique with him when he set out in 1519 under orders from the Spanish crown to seek a passage to the New World and cross the Moluccas by the western route. Muchamad chose to represent the five Magellan’s caravels: TRINIDAD; CONCEPCION; VICTORIA; SAN ANTONIO and SANTIAGO on black flags in opposition to the usually white sails of the caravels of these large expeditions. The artist shares Indonesian author Adrian B. Lapian’s observations in his book Orang Laut, Bajak Laut, Raja Laut (Sea Nomads, Pirates, Kings of the Sea) locating the question of piracy as a question of point-of-view. Muchamad suggests a re-writing of received and enforced narratives by effectively turning them against themselves. In 1095, ‘Terra Nullius,’ a Latin phrase meaning ‘no one's territory’, or ‘uninhabited land’, appeared in Papal bull justifying the occupying of territories by Europeans. The ‘doctrine of discovery’ allowed a Christian nation to establish a foothold on uninhabited land. Muchamad, from Indonesian descent, now creates a metal plaque which seizes the Busan MoCA as Terra Nullius, in a simultaneous gesture of possession and refusal.

 
 
 
 
 
Nathalie Muchamad
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