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.
Mercedes AZPILICUETA, Lady's Dream or Stop Right There Gentlemen! (2019)
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관리자 2020-09-05 11:05
Born 1981 in La Planta, Argentina
Lives in Amsterdam, Netherlands
Mercedes AZPILICUETA, Lady's Dream or Stop Right There Gentlemen!, 2019, Jacquard Textile (Wool and cotton), 157×600cm
Courtesy of the artist and Van Abbemuseum, Eindhoven, The Netherlands, Photo: Peter COX
Mercedes AZPILICUETA‘s practice uses performance, history, and storytelling to give account of lives of women, either forgotten or marginalized. By doing so, the artist explores how our bodies are understood in relation to our environments. Affects are rendered tangible through the artist’s personal experiences and her relations with popular culture. Hybrid forms are produced, which overcome the simplistic dualism of the domestic and the public self. Distortions translate the permanent transformations of our identities that never really come from within nor from without, but exist in a non-frontier zone, which is above all a zone of resistance and emancipation. In her installation CuerposPájaros (2018), AZPILICUETA questions the concept of a non-normative collective body through a collection of images shot in the streets of Buenos Aires. Previous works include vocal poetic experiments investigating that which we take from the outside to constitute our plural identities.
For the Biennale, Mercedes AZPILICUETA presents on one side of a tapestry entitled Lady's Dream or Stop Right There Gentlemen! It pays tribute to 19th-century Argentinean proto feminist Eduarda Mansilla’s book on Lucia Miranda: the myth of the first cautiva, a European woman captured by indigenous people on her arrival in Argentina in the 16th century. Her second contribution for the Biennale is a collaborative performance with HUH Kyung Mi, a dancer and choreographer based in Busan. They will create a piece based on KIM Soom's story Green Is for Sorrow.