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.
Louise HERVÉ & Clovis MAILLET
Read 1,474
관리자 2020-09-05 13:15
Born 1981 in France
Lives in Paris
Louise HERVÉ & Clovis MAILLET, Or If I Swim in the Sea, Does the Sea Swim in Me?, 2020,
Installation, Haenyeo Goggles, fossils, glass floats, marin glass sculptures (Liquidum), judo mats, variable dimensions
Courtesy Marcelle Alix Gallery Paris
The artistic practice of Louise HERVÉ & Clovis MAILLET centers on the act of narration. Based in Paris, and they have developed an enigmatic way of working over the last two decades. Their stories bring together historical facts, fictions, and new realities, and take the form of films, installations, sound, photographs, and performances. Their mode of operation combines scientific, historic, and anthropologic discourses with personal comments and can be described as “archaeology of knowledge.” They deal with historical reconstruction, both as a personal practice (they have worked with people and associations reenacting historical events) and as an institutional practice in museums. Their project Spectacles without Objects (2014-16), which includes a film, book, and vinyl record, is an example of how the artists use historical facts as a point of departure. The record consists of two different sets of songs with a choir specializing in 18th and 19th century music. The first series is composed of four songs written at the dawn of the French Revolution, in 1790, by anonymous songwriters to commemorate the first large Fête révolutionnaire (“revolutionary fair”). The second series is composed of five Saint-Simonian songs, which were destined to accompany every hour of the day and every activity inside this political Saint-Simonian community during the time of their retreat in 1830. Spectacles without Objects represents the duo’s historical approach, while The Waterway (2014) deals with fiction and new realities. This pseudoscientific film is set in a holiday resort on the Atlantic Ocean in France, where a mysterious group of senior citizens tries to find a remedy that will give them eternal life. Louise HERVÉ & Clovis MAILLET constantly balance on the enchanting knife’s edge between the fictional and the historical, and keep their viewers on their toes in a web of speculative information.