스킵네비게이션

Archive

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 Chung Heemin

Read 2,823

관리자 2022-12-16 15:34

작가Chung Heemin
Siren-Anemone-Seins Dur, 2022, Mixed media, Dimension variable.
 
Symbols combining history and fiction are often found in cities close to the sea. Chung Heemin questions why these sorts of subversive creations of the imagination persist, how they become a part of the history, and in what way socio-political realities come to be reflected within them. In doing so, she sets up a temporary monument to them in her work. Inspired by the poetic transformation of mythological images and formation of boundaries by surrealist artists in the 1930s, Chungs work examines narratives about mermaids. In Robert Desnos’ poem, “Siren-Anemone” a siren and anemone are combined into a hybrid creature that approaches the land surrounded by images of water, fire and other auditory imagery. In her own work, Chung subverts the established image of women in mermaids based on her own imagination of how humans might integrate with nature. She depicts a body that transcends the limits of human thought by overlapping abstract forms of texture, sound, and light. Using a printmaking technique of transferring inkjet onto acrylic medium, she adds tactile sense and astrological imagery to organic forms of nature. As an extension of her previous works which investigate how individuals exist in metaphysical events caused by technology, Chung uses mythological figures to experiment with non-rational and non-anthropocentric forms.
 
Chung Heemin

b. 1987, Seoul, South Korea
Lives in Seoul

Chung Heenmin takes the digital images created by the media screens that surround us today and transports them into the medium of painting, posing questions about our identity, digital affect and the meaning of media in a contemporary society where technology is ubiquitous. Her created artworks focus on the characteristics of the images produced in digital environments and the ways in which they are experienced, along with artistic material experiment. Recently, she has endeavored to broaden her experiments surmounting the two-dimensionality of painting and reach the sense of body inbetween the virtual and the real with poetic abstractness. In addition to her solo exhibitions Seoulites (Museumhead, Seoul, 2021) and An Angel Whispers (P21, Seoul, 2019), she has taken part in numerous group exhibitions such as Stop Worrying and Love the Bomb (Nam-Seoul Museum of Art, Seoul, 2022) and Catastrophic Sensation (KIMHEESOO Art Center, Seoul, 2020).

TOP