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 PACK
Read 2,581
관리자 2022-12-16 14:45
Hinterland: The Anatomy of a Houseboat, 2022, UV print on acrylic, laser print, aluminum, Dimension variable. Concept art: Gim Jeongtae, Graphic design: y!.
Earlier this year, PACK collaborated with visual artists, sci-fi writers, a music duo, a concept artist, and a 3D modeler to develop the online exhibition Hinterland (www.hinterland.kr). Presented in an offline setting for the first time, Hinterland, which in German translates to “the land behind,” revolves around a fictional universe devised by a tabletop role-playing game. Set in the 25th century, the exhibition follows archaeologists and artists as they retrace the 23rd century–a period when the notion of nation-states has submerged alongside much of the land due to a drastic increase in sea level. The exhibition explores how the movement of data in the metaverse, the sociopolitical order at sea in the absence of national governments, and humanity’s relationship with nature are entangled. Pier 1 features Hinterland: Future Fossil, a video tour of the online 3D exhibition, and the Museum of Contemporary Art Busan presents Hinterland: The Anatomy of a Houseboat, a structure that takes previous exhibition research materials to further discuss a future that is yet to come.
A “houseboat” in the fictional universe of Hinterland serves as the most practical mode of transportation and shelter for the ‘outlanders,’ those who have been forced out of the inlands and lead life at sea. Hinterland: The Anatomy of a Houseboat interlinks the discussion of technology, labor, and climate, key themes from the Hinterland universe, with the multi-layered structure of a houseboat. Each panel features a blueprint of the houseboat and various texts, such as excerpts from a 23rd century outlander’s diary, conversation logs, and news headlines. PACK’s curatorial team conducted an internal writing workshop during which they further imagined the lives of outlanders who live on houseboats as stateless refugees in a world where Web3 has successfully been adopted across the globe. As a(n) (un)realistic method of survival adopted by future humanity, the houseboat offers a way for us to reflect upon and respond to changes in the labor market, technological developments, and the climate crisis–issues that are often discussed independently from one another–comprehensively.
PACK
Founded in 2017
Founded in 2017, PACK works across exhibition curating, web development, art education, research, branding, design, and publishing both online and offline. PACK first began by selling artworks in 40ⅹ40ⅹ40 cm transparent cubes, setting forth to mediate the production, exhibition, experience, and distribution process of art. PACK has collaborated with various artists, curators, developers, and many other professionals to form a vibrant community of creatives. PACK is particularly interested in creative projects, exhibitions, and platforms that work at the intersection of art and technology. Notable exhibitions and projects include Hinterland (New Art City online exhibition, 2022), All, All, All NFT (SPACE Four One Three, Seoul, 2021), PACK 2019: Adventure! Double Cross (Post Territory Ujeongguk, Seoul, 2019), and PACK 2018: TinkerBell’s JOURNEY (SPACE Four One Three, 2018). PACK has also participated in numerous projects, such as off (SPACE Four One Three, 2021), Art Street (Hyundai Card Storage, Seoul, 2020), and Take Me Home (Platform-L Contemporary Art Center, Seoul, 2019).