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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.


Barthélémy TOGUO

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관리자 2020-09-05 15:18

Born 1967 in M'Balmayo, Cameroon

Lives in Bandijoun and Paris

Barthélémy TOGUO, A Book Is My Hope, 2020, Book, net, variable dimensions

Splitting his time between Paris, France, and Bandjoun, Cameroon, Barthélémy TOGUO investigates contemporary and historical humanitarian crises and the social revolts against systematic operation. Specifically, he traces of regulated flows — of people, commodities, and resources — between the developing nations in the Global South and the West. Symbolic objects of migration populate his practice. Sometime in the 1990s, TOGUO noticed that his passport was swelling and blackened with stamps from different border controls across the world, while the passports of his European peers remained contrastingly pristine. For TOGUO, a deep preoccupation with these stamps became emblems of geopolitical restriction and oppression.
They stretch out the quintessential administrative gesture of stamping documents — emphasizing its action as a way to invert the initial connotations of the form. While the act of stamping resonates with colonial administration, its bitter history is also rooted in the branding of bodies of enslaved people. Here, TOGUO’s stamped papers, which are often presented on the walls surrounding the sculptural installation, become an orchestra for rebellion voices, revolting against dominant racist regimes. Amplifying the voices of others is not uncommon to TOGUO’s practice.
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