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Busan Biennale 2006

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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 Au Sow Yee

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관리자 2022-12-16 14:00

작가Au Sow Yee
The Extreme Journey of Perwira and the Calm Sea: in 3 Acts, 2019 –.
Electric, Cosmos and Séance, 2022, Video installation, sound, 12min. 27sec.
The Kancil’s Mantra, 2021, Video installation, silent, black acrylic, 2min.
Tiger Cave, 2020, Two-channel video installation, sound, objects and documents, Dimension variable, 3min. 30sec.
Prelude: Song of Departure, 2019, Video installation, sound, silk screen lyrics and sketch, Dimension variable, 4min. 45sec.
 
In her work, Au Sow Yee reveals the underside of “image-making” while exploring the hidden dynamics of national borders and the dichotomy of the Cold War. In particular, she often investigates the political and historical ties between Taiwan, Japan, and Malaysia. This work is from her series on Tani Yutaka, also known as “Harimau” (meaning “tiger” in Malay), a bandit who served as a secret agent for the Japanese military in Peninsular Malaysia during the Pacific War. Born in Fukuoka in 1911, Yutaka moved with his family to Terengganu (northeast part of Peninsular Malaysia), which was then a British colony. Allegedly, after Yutakas younger sisters were killed by Chinese assailants in retaliation for Japans aggression in the Manchurian Incident, he swore vengeance on China and became a bandit. Over the years, Yutaka became a mythic figure in popular culture whose story was told and retold in movies, TV shows, songs, and cartoons, being continually updated to suit the present era. Serving as a prelude to Au Sow Yees series on Yutaka, Prelude: Song of Departure (2019) adopts the form of karaoke to provide a fictional retelling of Yukatas story with images and lyrics extracted from contemporaneous popular culture. Notably, the work incorporates the melody and lyrics of a song used in the conscription of Taiwanese soldiers during the Japanese colonial period, along with the songs “Amazing Harimau” (1960) and “Song of the Southern Cross” (1960), which were the theme song and interlude (respectively) of the TV show Amazing Harimau (1960– 1961). Suggesting a voyage, the imagery includes a compass and the Southern Cross constellation, a celestial icon of the Southern Hemisphere that alludes to Japans southern policy of occupying nations in the Pacific and Southeast Asia. The artist thus uses the changing conceptions of Yutaka in popular culture to reflect upon the fluid boundaries and the dynamics of power in the South China Sea, Indian Ocean, and Pacific Ocean, while exploring diverse aspects of Japan, Taiwan, and ASEAN countries. In doing so, she compels us to consider how unbalanced forces related to borders, wars, religions, and beliefs, are embedded within fictional artifacts of history.
 
Au Sow Yee

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).

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