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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 Chim↑Pom from Smappa!Group

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관리자 2022-12-16 14:03

작가Chim↑Pom from Smappa!Group
Drink It Yourself, 2022, Makgeolli / Doburoku, Installation.
 
The artist collective ChimPom from Smappa!Group used the technique for brewing Doburoku sake from Japan with the malt of Geumjeongsanseong Makgeolli from Korea to create a new type of alcohol, which has been designated as the official alcoholic beverage of the Busan Biennale 2022. Korean makgeolli and Japanese Doburoku have many things in common. For starters, both are cloudy, potent types of alcohol that can be easily brewed at home. Since the ingredients of Doburoku are readily available and its brewing process is quite simple, it was freely and independently produced by almost every Japanese household up until the Edo period, but the government began to crack down on this practice during the Meiji period. After the Liquor brewing tax was enacted in 1880, the crackdown intensified as it became a major source of tax revenue. At a trial from 1986 to 1989, participants claimed that this law violated their freedom, arguing that homebrewing of Doburoku was an essential part of Japans culinary tradition. Similarly, Geumjeongsanseong Makgeolli is the representative traditional alcohol of Busan, dating back almost 500 years. It too was once brewed by every village household, until the Japanese colonial government banned homebrewing in 1909, with a law demanding that breweries pay taxes in order to produce alcohol. But through the years, Geumjeongsanseong Makgeolli was still illegally produced by bootleggers, who devised a warning system to protect their operation. If the authorities were spotted, someone would ring the village bell, signaling the bootleggers to hide their precious malt, which contained microorganisms needed for the fermentation process. In this way, Geumjeongsanseong Makgeolli survived until 1979, when it was designated as National Folk Liquor #1. To this day, Geumjeongsanseong Makgeolli is still made with the traditional process, in which women step on the malt to knead it and make it round. For the biennale, ChimPom from Smappa!Group combined elements of Doburoku and Geumjeongsanseong Makgeolli to create a third type of alcohol that cannot be called sake or makgeolli. While revealing the cultural intersection between Korea and Japan, this hybrid brew also illuminates the resistance and DIY spirit of the region that went to great lengths to protect its liquor legacy from the prying eyes of government authorities.
 
ChimPom from Smappa!Group

Ryuta Ushiro, Yasutaka Hayashi, Ellie, Masataka Okada, Motomu Inaoka, Toshinori Mizuno
Founded in 2005

The six members of ChimPom from Smappa!Group explore the truth of their era based on full-scale involvement in contemporary society, working in a wide range of genres such as video, installation, and performance. They conceive artwork and performances that present powerful critical messages about the relationships between the individual and public realms, environmental problems stemming from mass consumption and waste, and societal issues associated with borders and migration. Their work has been shown at the solo exhibitions ChimPom from Smappa!Group (ANOMALY, Tokyo, 2022), ChimPom: Happy Spring (Mori Art Museum, Tokyo, 2022), Threat of Peace (Art In General, New York, 2019), and ChimPom (MoMA PS1, New York, 2011). ChimPom from Smappa!Group has also taken part in international events and group exhibitions, including the Manchester International Festival (2019), the 14th Biennale de Lyon (2017), Zero Tolerance (MoMA PS1, New York, 2014), the 9th Shanghai Biennale (2012), and the 29th São Paulo Biennial (2010).

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