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.
2014 Déchoucaj’17
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관리자 2014-09-16 09:36
Haïti 2004/2006
Print on photographic paper laminated steel
80×120cm
Edition 1/3 + 1EA
Déchoucaj’17
Since 1993, Mihindou has been releasing works that have close correlation with therapeutic dimension of reason. Her works question, through these authentic experiences, the healing processes and rituals that accompany them: the recuperative possibilities of the soul through the body such as voodoo, shamanism and the practices of Western hypnotists.
In her Sculptures de Chair series, she shows the process of healing limbs that are wrapped in bandages, from a painful -- perhaps universal -- body mutilation in expiate ritual. By using objects that are related to physical recovery, such as elastic yarn for drawing blood, paraffin, soap and needles, her works explore the limits of madness caused by social world environment that only art can eliminate.