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.
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관리자 2022-12-16 14:00
b. 1978, Kuala Lumpur, Malaysia
Lives in Taipei, Taiwan
Working in different media including video installations and theatrical performances, Au Sow Yee explores the underside of the “image-making” that is intertwined in complex ways with colonial history and geopolitical interests. The artist focuses on examples of appropriation and propaganda in which images and memories of actual people and things (nations, companies, animals and plants, etc.) were distorted in the name of ideology during the colonial and Cold War eras. She then reconstructs them under an imaginative approach that alternates between fact and fiction. Adopting an incisive yet humorous perspective as it reflects the interests, changing boundaries, and power structures of the South China Sea, Indian Ocean, and Pacific Ocean regions, her work has been shown at solo exhibitions such as Still Alive (The Cube Project Space, Taipei, 2019) and Gurindam Jiwa (Fotoaura Institute of Photography, Tainan, 2017) and exhibited or screened at the Times Museum (Guangzhou, 2021-2022), the 11th Taipei Biennial (2018), the Mori Art Museum (Tokyo, 2017), and HKW (Berlin, 2017).