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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 Elisa Jane Carmichael

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관리자 2022-12-16 14:08

작가Elisa Jane Carmichael
A Search for Meaning Is to Absorb the Abundance of Beauty in Nature, 2021 – 2022, Fish scales, talwalpin(cotton tree), cyanotype, cotton, Dimension variable. Courtesy of the artist and MCA.
 
Quandamooka artist Elisa Jane Carmichael mixes salvaged materials, such as fishing nets recovered from the shoreline, and traditional weaving methods to create distinctive works that celebrate the culture of her people, who are First Nations Australians from the islands of Moreton Bay, South East Queensland. Freely integrating themes from nature with the language and spirit of her ancestors, Carmichael often produces her works at gatherings and in collaboration with her family and community. She painstakingly created this particular work over the course of about a year and a half throughout Covid-19 lockdowns. She uses traditional methods and delicately weaves fish scales into strands of talwalpin, a traditional weaving fiber gathered from the branches of coastal trees. On the floor is a blue cyanotype print that expresses stories of the sea, evoking the voices of her ancestors who lived there. As such, the work emphasizes the long tradition of the Quandamooka people and the sea, showing how the living and the ancestral spirit continue to cohabit the natural landscape, while expressing the power that connects us all.
 
Elisa Jane Carmichael

b. 1987, Brisbane, Australia
Lives in Brisbane

Queensland and the islands of Mulgumpin (Moreton Island) and Minjerribah (North Stradbroke). She assembles geographical information that she connects with the contemporary era through painting and weaving work that actively employs traditional techniques. She aspires to a form of artistic practice that shares in and visually interprets the power and aesthetic of the Mother Earth and the spirit of Quandamookas ancestors. She has held numerous solo exhibitions, including Present Surroundings (Onespace Gallery, Brisbane, 2021), and taken part in various group exhibitions such as Primavera: Young Australian Artists (Museum of Contemporary Art, Sydney, 2022), Naadohbii: To Draw Water (Winnipeg Art Gallery, Winnipeg, 2021), Tarnanthi (Art Gallery of South Australia, Adelaide, 2020).

 

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