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 Phyllida Barlow
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관리자 2022-12-16 14:46
For the past fifty years, Phyllida Barlow has been using rough and inexpensive industrial materials—such as rebar, concrete, lumber, and plywood—to construct striking sculptures and installations that radiate with both beauty and insight. Barlow’s works often function through variations of scale, while playing with the tension and harmony of balance, volume, strength, and weakness. For this exhibition in Busan, she has installed a new work Untitled: Bluechatcher; 2022 from the Untitled: Catcher series, featuring a fishing net that was dipped in concrete and then draped on steel columns with concrete supports. The resulting work looks like part of a forgotten ruin, or perhaps a shipwreck from deep beneath the sea, although the achromatic material evinces modern urban concrete buildings. To make the sculpture, Barlow gathered samples of real nets used by fishing boats in Busan, conducted various tests, and then selected the one that she felt best reflected the sea, labor, and city of Busan.
b. 1944, Newcastle upon Tyne, UK
Lives in London, UK
Phyllida Barlow creates constructive abstract sculptures that introduce new meanings to industrial materials such as plywood, polyester, cement, and paint, along with discarded items and things often seen in our daily lives, which are crudely raised and layered in precarious ways. While the immense size and towering height of her work introduces a feeling of tension at times, it also gives the sense of being as light as air. Through her thoughtful approach and conception, Barlow creates an environment that allows for investigation of the process behind the finished work, encouraging physical movements that interact with the artwork in space and inducing the viewer to want to get closer. Recent solo exhibitions include glimpse (Hauser & Wirth, Los Angeles, 2022), frontier (Haus der Kunst, Munich, 2021) and cul-de-sac (Royal Academy of Arts, London, 2019). Upcoming exhibitions include STREET (LWL-Museum for Art and Culture, Münster) and the Kurt Schwitters Prize (Sprengel Museum, Hannover). Barlow also represented Britain at the 57th Venice Biennale in 2017.