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Busan Biennale 2014

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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.


2014 Ubuntu

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관리자 2014-09-16 17:38

작가Jeremy Sharma

2014
Blue pigment and cast polyurethane foam, robotic milled, unique
201x107x40cm

Ubuntu


2014
Blue pigment and cast polyurethane foam, robotic milled, unique
201x107x40cm

Tiktaalik


Jeremy Sharma’s recent works have evolved out of a response to technological advances that have enabled an expanded engagement with the dialectics between picture, image, painting and object. Both ‘Ubuntu’ and ‘Tathata’ take as their departure point the scientific studies of wave forms and radiographs of pulsars (dying stars). The works – cast using blue-dyed polyurethane foam – are translations of the patterns found in the collected data into 3D slabs of undulations that resemble ridges, seabeds, peaks, and valleys. Dyed using pigment and displayed on exhibition walls not unlike the manner one would with paintings, the works oscillate uneasily between the terrains of painting, image, sculpture, object and thing. The works confront the status of the artwork today – what constitutes a painting or a sculpture? Is an artwork’s essential feature the enigma of its thingness? Sharma’s works resist any attempt to provide us with any stable individuation conditions for their ontological existence, critical of the complexly layered overlaps between ontological categories still to come to terms with.

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