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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.

Jos DE GRUYTER & Harald THYS

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관리자 2020-09-05 12:20

Jos DE GRUYTER Born 1965 in Geel, Belgium

Harald THYS Born 1966 in Wilrijk, Belgium

Live in Brussel

Jos de GRUYTER & Herald THYS, Mondo Cane, 2019, Animatronic sculpture (12)

Mondo Cane was first presented at the Belgian Pavilion of the 58th Venice Biennale (2019). In 2020 the exhibition was on view at the Centre for Fine Arts, Brussels (BOZAR). Commissioned by the Fédération Wallonie-Bruxelles.

For the past three decades, the Belgian artists Jos DE GRUYTER & Harald THYS, has perfected the construction of fairytale-like emblems of societal nightmares. Through videos, photographs, drawings, paintings, and sculptural installations, the duo forms a world that emanates dazed and dark folklore, where the Golem, voodoo dolls, and Frankenstein-like figures are often summed. The artists’ work is populated with nameless, grotesque dummies and archetypal figures: the village drunks, the madmen, the hooligans, the prostitutes, the widows, and the unnamed “others.” Often set within depleted domesticity or against suburban backdrops, DE GRUYTER and THYS’ figures are entangled in painfully absurd conducts. It is a world that resides in a total collapse of communication, where violence is executed slowly, through intervals that stutter instead of flow; reactions are delayed. Expressionless, catatonic, or caught in neurotic twitches, the dummies are often played by the artists or amateur actors. Other times, they are still, fashioned of clay, or straw-stuffed jute — wooden scarecrow type constructions, that are then adorned with cheap, off-brand clothing. Often partially decapitated, they are vaguely familiar, and thus, their presence brings to surface the repressed, horrific object of a Freudian Uncanny; the familiar that becomes estranged. Not surprisingly, humor appears across DE GRUYTER and THYS’ work with a shade of horror, in auniquely Belgian flair that can be traced back to the medieval Flemish Theater of Farce, called “Klucht.” At times, the artists’ figures are presented in settings that resemble a freak show or a human zoo, both popular genres of entertainment that fin de siècle Europe was embellished with. As in their presentation for the Belgian Pavilion at the 2019 Venice Biennale, the dummies appear as life-size automated mechanic dolls.
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