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.
Lasse Krog MØLLER
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관리자 2020-09-05 15:50
Born 1972 in Aarhus, Denmark
Lives in Aarhus
from the work:
Lasse Krog MØLLER, Meanwhile in Busan - a journey at the desk. JL’s expedition to Gwangan Bridge, 2020
Courtesy the artist
Lasse Krog MØLLER sees cities, their parks, and streets as libraries packed with stories about people, culture, and values. It is often small objects like everyday ephemera—such as gloves, shopping lists, hair bands, letters, or cigarette butts, that people have dropped or left in the streets—that fascinates the artist. Krog MØLLER documents, collects, and works with the overlooked, unwanted, discarded, and marginalized in our everyday lives. He can be seen as an anthropologist or detective conducting fieldwork in urban settings, and his discoveries, recordings, and photographs areintimate portraits of contemporary life and insight into daily life in public spaces. For more than twenty years, Krog MØLLER has investigated remnants in the streets and archived what he has found. He often chooses to display his collections of unwanted objects in old-fashioned museum-like settings, which generate a humorous critique of consumerism, established institutional archival norms, and museum displays.
In his work, Lasse Krog MØLLER creates a new type of geography and idiosyncratic mapping that can be seen in relation to art historical movements such as Situationism and Fluxus. The artist poses questions about which traces we leave behind or overlook in our daily routines in urban spaces, and his approach produces a unique curiosity towards our surroundings. After experiencing Lasse Krog MØLLER’s work we may ask ourselves: How many small stories and personal destinies do each of us treat as unwanted trash everyday and simply pass by in the streets without noticing? Artists’ books constitute another key element in Krog MØLLER’s work, and a dialectical relationship between the books and the physical works on display makes them two sides of the same coin.