스킵네비게이션

Archive

Busan Biennale 2006

이전메뉴 다음메뉴

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 Adeela Suleman

Read 2,049

관리자 2022-12-16 13:56

작가Adeela Suleman
Darkest Hour, 2022, Found vintage ceramic plate with enamel paint and top coat with lacquer, 35.56×44.45cm.
No Glory in Death, 2022, Found vintage ceramic plate with enamel paint and top coat with lacquer, 44.45×35.56cm.
Bearing Witness, 2022, Found vintage ceramic plate with enamel paint and top coat with lacquer, 46.99×36.83cm.
No Longer Possessed, 2020, Found vintage ceramic plate with enamel paint and top coat with lacquer, 27.94×10.16cm.
Lynch Mob, 2019 –2020, Found vintage ceramic plate with enamel paint and top coat with lacquer, 28.448×36.322cm.
History will repeat itself!, 2019 –2020, Found vintage ceramic plate with enamel paint and top coat with lacquer, 45.72×35.56cm.
Sinking in the Past, 2019, Found vintage ceramic plate with enamel paint and top coat with lacquer, 34.925×29.21cm.
 
Starting from ordinary everyday household objects such as tableware, plates, and kitchen utensils, Adeela Suleman creates sculptures and installations that express her ideas about contemporary society and politics. While primarily focusing on gender and class inequality in her home country of Pakistan, Suleman has explored many other issues of religion, state, violence and identity, both personal and private. Since 2014, for example, working with her team of artisans, she has been using vibrant brushstrokes to paint scenes of violence on vintage ceramics plates and knives. While such works emerged from Sulemans own personal experiences and memories of life in Karachi, they transcend the personal to address the innate human instinct for violence. By delicately depicting realistic scenes of violence on ceramic plates, the artist highlights the juxtaposition of beauty and cruelty while interrogating the origins of violence that are deeply ingrained in everyday life. In Sulemans work, this imagery of violence and conflict is created through historic references, mainly from Mughal miniature paintings.
 
Adeela Suleman

b. 1970, Karachi, Pakistan
Lives and works in Karachi

Focusing her work on the frail and fleeting nature of life, Adeela Suleman uses sturdy, powerful metals like stainless steel to create sharp contrasts that amplify the unstable and precious aspects of the human condition. Idyllic images from nature, such as flowers, birds, and trees, are juxtaposed with motifs of destruction, including missiles and jackets fitted with explosives, as the artist uses these disparate combinations to represent the violent aspects of contemporary Pakistani society. In 2019, she presented a short documentary and installation-based work that denounced extrajudicial killings committed by police and other authorities in Pakistan, but it ended up quickly being targeted for government censorship and vandalism. Sulemans major solo exhibitions include Armory Art Fair (Aicon Contemporary, New York, 2021), Dubai Art Fair (Canvas Gallery, Dubai, 2020) and Ashes to Ashes (Sullivan+Strumpf, Singapore, 2019), while her major group exhibitions include Embodied Change: South Asian Art Across Time (Seattle Asian Art Museum, Seattle, 2022), Media Art in Focus - Part  (Pinakothek der Moderne, Munich, 2022) and the 10th Asia Pacific Triennial of Contemporary Art (Brisbane, 2021-22).

 

TOP