스킵네비게이션

Archive

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.


Daiga GRANTINA

Read 1,544

관리자 2020-09-05 12:38

Born 1985 in Riga, Latvia

Lives in Paris, France

 

Daiga GRANTINA, INN, 2020, Felt, wood, silicone, ink, 270×180×70cm

 

Daiga GRANTINA works with large, vast sculptures that inhabit the floor, hang from the ceiling, and climb up the walls. Their physical presence has a tendency to take over the space they are situated in. GRANTINA uses a range of hard and soft, transparent and opaque materials, and creates painterly, colorful landscapes in the sculptural tradition of Jessica Stockholder. Sometimes these large-scale sculptural assemblages appear strong and difficult to penetrate and other times they are as soft and fragile as feathers or dust. The multitude of textures and materials meet each other as open-ended playful investigation. The constructions of foam, thick plastics, light textiles, metal, silicone, latex, plexi and fiberglass objects, and other industrially produced elements have a bodily, organic quality to them.

Daiga GRANTINA’s works are abstract but suggestive of the body, and the distorted sculptural organisms shine a light on art historical references such as Lynda Benglis and Eva Hesse. GRANTINA’s installations are voluminous, almost Baroque, and they own the space they are in as if they want to take it over.

TOP