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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.


Kyung Hwa Kim

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BB2024 2024-12-02 14:00

Kyung Hwa Kim

People massacred in the valley, 2024, sewing on dyed fabric, 450x250cm.

 
Kyung Hwa Kim, examining Korean history and its unsolved paradoxes, sought to learn the cause of socio-pathological problems that arose after ‘the national mission of development or advancement.’ Seventy-one years have passed since the armistice, yet the crisis of war, the repeated history of concealments/manipulations, and ideological conflicts continue to create daily turmoil. People massacred in the valley (2024) display cotton fabric dyed with forms of wild grass, flowers, butterflies, and trees overlapping one another. The flowers and grass are from Dongmaesan Mountain in Saha-gu, Gupyeong-dong, Busan, one of the sites of the Bodo League Massacre. During the Korean War, the Bodo League Massacre took place in approximately 160 sites in Korea, and around 100,000 to 400,000 people were estimated to have been sacrificed. Mass burials took place along the mountains, valleys, and caves. Many were also consigned along the oceans and islands. Dongmaesan was one of the places where the convicts of the Busan Prison were massacred during the Korean War. At least 160 prisoners are estimated to have been buried. While the artist searched for traces of the Dongmaesan massacre site, which was first excavated in 2001, she could not find a notable mark in the area. Then she thought of the flowers and grass that would have grown over the blood stains of the victims.
 

People massacred at sea, 2024, sewing on dyed fabric, 450x250cm.

  
During the Bodo League Massacre, people were tied up in pairs with rocks attached to them and thrown into the water. People were consigned to the sea in every region along the sea, such as Busan, Masan, Tongyeong, and Geoje. In the case of Busan, masses of people were thrown into the sea around the shores of Oryukdo, the Dadaepo coast, and Amnam-dong, Seo-gu, in front of the People massacred at sea (2024) represents the artist’s sorrowful wish to pull the victims out of the water, who were tied together with heavy stones and thrown into the deep sea on a dark night without a clue what was happening. The birds and butterflies depicted in the work represent currently endangered species in South Korea. They allude to the situation in which a family was wiped out and their generation cut off in the Bodo League Massacre or the survivors who were forced to live in hiding from guilt by association, severely restricted in their social activities.
 
 

Harmony, 2024, sewing on Hanbok cloth, 300cm.

 
Flowers know they should bloom in the warmth of May,
Birds know they should fly away in the autumn skies,
Problem, what is the problem, we merely raced, unaware of the destination,
Since when did our noble and pure hearts turn away from the truth,
Sleeping sky, please wake up. Just like the light of the sky long ago, please make some mediation.
The above phrase is a part of Han Young Ae’s 1992 song, Tuning. Kim does not think of Donghak as a failed revolution, a minor religion, or a study that remains in the past. Donghak hoped for a life that does not defy nature and asserted that every being in the universe is precious and equal. Therefore, the artist understands Donghak’s god as a presence within the universe and oneself as an idea of the present life that reminds one of the interconnectedness of all things and myself. In Harmony (2024), a group of creatures are connected and play freely without fighting. It visualises the spirit of Donghak, awakening the dormant god in each person’s heart and reclaiming oneself as a creative being. The artist’s concern toward the current world that values one’s respective survival over others instead of seeking to connect with other living beings is expressed through the work.
 
 
  
 
Kyung Hwa Kim
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