스킵네비게이션

BBOC SAF 2021 BB 2022
Archive

Busan Biennale 2006

이전메뉴 다음메뉴
ArchiveBusan BiennaleBusan Biennale 2006Artists & ArtworksContemporary Art Exhibition
페이스북 인스타그램 카카오톡 유투브

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 Choong Sup Lim

Read 2,481

관리자 2022-12-16 14:05

작가Choong Sup Lim
Landing I, 2015, Acrylic and U.V.L.S. gel on shaped canvas, 127×107.2×7.6cm. 
Untitled, 2015, Acrylic and U.V.L.S. gel on shaped canvas, 94.5×47.7×15.3cm.
Scape@Fossil 1 – 8, 2008, Acrylic, found objects, mixed media, and U.V.L.S. gel, 45.7×47×15.2cm (8).
Fossil Scape-Dialogue, 2006, Found objects, mixed media, 26×45.7×20.3cm (5).
A Thread and Thousand River, 2000 – 2001, Video projection, kinetic, mixed media, Dimension variable.
 
Born in Jincheon, North Chungcheong Province, Choong Sup Lim moved to New York in the early 1970s. Since then, Lim has become known for his abstract artworks of various media, including painting and installation, that express his identity as an “in-between” being, while exploring the intersection of the horizontal axis of nature and the vertical axis of civilization. His work is deeply influenced by the profound longing for his mother, who died when he was a child, and his traumatic memories of the Korean War. Using everyday materials such as stone, thread, soil, and wood, he recreates the fundamental shapes of his life and the natural environment of his hometown, while reflecting on the history and subconscious thoughts of humans adapting to urban life. Lim’s kinetic installation Thread and Thousand River combines a video of a flowing river with a sculptural object that resembles a loom with cotton threads. The threads vibrate in a horizontal space that recalls the open courtyard of traditional Korean house, creating a tremor that resonates through the silence and emptiness. In his two series Scape@Fossil 1-8 and Fossil Scape-Dialogue, Lim presents various objects that he has collected during his daily walks around the Hudson River in New York, which take on the status of poetry. By using this random assemblage as his lexicon, the artist subverts our ingrained concepts and rules for art, relying instead upon the unforeseen collisions that occur when disparate objects are juxtaposed. The two pieces from Lim’s Shaped Canvas series initially look like abstract monochrome works, but their subtle curves and meticulous composition elicit myriad interpretations. For this series, Lim modifies canvases into shapes resembling a tiled house, farm implements, and a face, and paints them with the colors of nature. All of Lim’s works transcend prevalent dichotomies—nature and civilization, subject and object, East and West—by creating new channels for communication and coexistence between them.
 
Choong Sup Lim

b. 1941, Jincheon, South Korea
Lives in New York, USA

Since relocating from Korea to New York in the early 1970s, Choong Sup Lim has experimented with media in different ways as he strives to break free from conventional aesthetic perspectives. Some of the influences on his artistic outlook include the feelings of longing stemming from his mother’s absence during his childhood and the powerful memories left behind by the Korean War. Reconstructing memories of his hometown through “trivial” items from everyday life—such as stones, thread, dirt, wood, and wire—he goes a step further to perceive in them the history of human civilization and the human subconscious. He has presented his work at such solo exhibitions as Drawing, In Between (Gallery Hyundai, Seoul, 2021) and Choong Sup Lim: Luna and Her Thousand Reflections (National Museum of Modern and Contemporary Art, Gwacheon, 2012), along with group events such as the 2nd Gwangju Biennale (1997) and How Objects Grasp Their Magic (Pace Gallery, Seoul, 2022).

 

LIST
TOP