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.
Angelica MESITI
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관리자 2020-09-05 15:54
Born 1976 in Sydney, Australia
Lives in Paris, France
Angelica MESITI, Over the Air and Underground, 2020, Five-channel HD video installation, color, 10-channel mono sound, variable dimensions, 9min 8sec
Visual art often mobilizes the means of expression and communication beyond conventional languages to present them in visualized forms. Angelica MESITI focuses on non-linguistic and performative methodologies in order to convey her narratives and contemplations of society. Interested in topics such as culture and community, MESITI explores communication beyond the realm of language, leading to her fascination with translating a variety of cultural phenomena through sound, music, or bodily movements that are spontaneous, voluntary, or trained. Through formats that transcend language, MESITI also questions how today’s culture is assembled or manipulated. She often borrows from the archetypes of cinema or film, while also establishing non-linear narratives in order to constantly oscillate the audience's sentiments between meditation and climaxing. By choosing ambiguity and indecisiveness rather than linear and clear linguistic narrative as the foundation of her work, MESITI actually presents a more sophisticated aesthetic experience to the audience and instigates a moment of affectation.
The highly sensuous and delicate works by MESITI elevates the quotidian to the domain of the extraordinary and the sophisticated, while leaving a more lucid impression than any explanation on the viewers’ minds. Devoid of language, MESITI’s video installation work deploys the bodily movements and sound-music to activate the narrative, thereby waking the common consciousness beyond individual sensibilities. This transcends beyond linguistic, cultural, and social boundaries, penetrating the realm of the individual and weaving together a joint sentiment instead.