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.
Nathaniel MELLORS
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관리자 2020-09-05 15:56
Born in 1974, Doncaster, United Kingdom
Lives in Amsterdam and Los Angeles
Nathaniel MELLORS, Cannibal Components (A Ruined Table), 2016, Mixed media, variable dimensions
Nathaniel MELLORS makes absurd and satirical sculptures, photographs, films, and installations. MELLORS is inspired by genres such as science fiction, horror, mythology, anthropology, and films that some may categorize as kitsch or b-movies. In his 5-episode series Ourhouse (2010-ongoing) we follow the eccentric Maddox-Wilson family whose lives are destabilized when their house (‘Ourhouse’) is occupied by “The Object,” whom the family fail to recognize as a human-being, each perceiving a different form in its place. “The Object” yields strange power over words and begins to eat the family’s books; processing their story inside its guts. Each episode of the series is determined by the texts “The Object” consumes, half-digests and sicks-back-up. All in all, these theatrical characters with either minimal or overdone make-up creates a psychedelic experience of timelessness. MELLORS writes the scripts, directs, and produces the television sitcom-like videos, and furthermore he composes and plays the music that may appear in his works.
Besides previous sculptures, including one of his early animatronic sculpture titled The Vomiter (2010)–a bizarre, robot-like sculpture that continuously is throwing up–MELLORS have created the new sculpture Horrific Object (2020).