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 Wearing Memory (Ver. Pusan)
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관리자 2014-09-16 17:48
2014
Jute rope/ Photo of grandmother’s, Mother’s and Aunt’s Chima-Chogori on Film
Variable Size
Wearing Memory (Ver. Pusan)
Woven-cloth is organized with warp and weft, and become a textile. During weaving, the up-and-down movement of warp yarn generates space. On the other hand, the action that drives weft yarn seemingly creates the layer of time. The ways in which warp – space – and weft – time – are overlapped and interconnected designate a point of being. In this view, woven-cloth appears a metaphor that contains and coveys a history and a story.
In weaving, while I consider what has been woven in the textile, I also recognize the existence of others that have not been included in it. For me, this recognition of an un-woven history overlaps an attempt to envisage grandmother’s story of moving from Jeju-island to Osaka during her teenager years. She did not tell me her experiences during her life. I called grandmother’s story “untold memory – silent memory”. Needless to say, the silent memory had not been told. Therefore, it is impossible for me to know about her concrete and specific experience. What I can do, instead, is to hold on the existence of her silent memory. In my view, weaving the textile can be understood as an accumulation of such gesture. How can I weave silent memory into the textile? As an attempt to explore this question, I will try to create installation work by using jute rope.