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.
2014 U.P.M.C. Braddock Hospital and Holland Avenue Parking Lot (The Grey Area Series)
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관리자 2014-09-16 10:02
2011
Gelatin silver print, mounted on archival museum cardboard, wooden frame
122×152cm
Edition 3ex+2 AP
Courtesy of the artist and Michel Rein, Paris/Brussels
U.P.M.C. Braddock Hospital and Holland Avenue Parking Lot
(The Grey Area Series)
La Toya Ruby Frazier’s works explain the relationship between post-industrialized American society and minority issues in documentary photography form.
Through the identity of this environment, Frazier’s photography series in the Busan Biennale reveals the pain of loss and an entropic degradation of dismantled space in the abandoned hospital and city.
The ruined location has a compacted meaning of the injury from the past, uncanny memory of having anxiety of the future, and returning to reality of a ghost town. Through the process of buildings breaking down in isolated areas, Frazier handles the issue of the town’s environments and faces the societal problem in America, which attempts to raise understanding of the role of artists inhabiting the world.