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.
2022 Bassem Saad
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관리자 2022-12-16 14:01
The film was shot inside an active seaside landfill on the outskirts of Beirut, one of the spaces created in the aftermath of the waste crisis as a result of makeshift profit-driven infrastructural development and space-making. It combines text, voice-over, shot footage, and digital effect to project onto the existing landscape an imagined mode of assembly. It posits ‘kink’ as a metaphor for a form of political praxis that acknowledges the latent and explicit violence of the state, the voiding of the social contract, and the necessity of risk-aware action in the context of political and environmental toxicity.
b. 1994, Beirut, Lebanon
Lives in Berlin, Germany
Through film, performances, videos, essays, and fiction, Bassem Saad’s work explores historical rupture, infrastructure, spontaneity, and difference. With an emphasis on past and present forms of struggle, he attempts to locate scenes of intersubjective exchange within their greater world-historical frames. His films have most recently been shown at MoMA, CPH:DOX, and Transmediale. In 2020, he has taken part in a major group exhibition la Clinique du queer (Maison Populaire, Montreux). His writing appears in Jadaliyya, Failed Architecture, and The Funambulist.