스킵네비게이션

BBOC SAF 2021 BB 2022
Archive

Busan Biennale 2018

이전메뉴 다음메뉴
ArchiveBusan BiennaleBusan Biennale 2018Artists & ArtworksMuseum of Contemporary Art Busan
페이스북 인스타그램 카카오톡 유투브

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 Pia Rönicke

Read 2,596

관리자 2022-12-16 14:50

작가Pia Rönicke
Future Horizon, 2022, Mono prints, indigo colored textiles, newspapers (The Seoul Shinmun, Sep 24, 1969 / JoongAng Ilbo. Dong-A Ilbo, Kookje Shinmun, Aug 30, 2022), pressed indigo plants, earth, photographs, Dimension variable.
Mono prints made in collaboration with and printed by copper printer Mette Marott.
Indigo farm: 쪽빛아침. Latitude 36.538313 Longitude 128.656182
Without a Name, 2004 – 2007, Paper lamps, slide show, photographs, Dimension variable. Courtesy of the artist and gb agency. 
 
In Future Horizon, Pia Rönicke uses the vestiges of plants and trees to examine how they were treated or influenced by people, as well as how they responded to those interactions. Here, Rönicke reveals the story of indigo plants (Polygonum tinctorium Aiton) with images and data that she collected from the Global Biodiversity Information Facility (GBIF). Ranging from plant samples collected in the eighteenth and nineteenth century to geotagged photos taken by today’s amateur naturalists, the vast archive of the GBIF documents both the botanical collections of the colonial era and the vanishing biodiversity of our world today. Rönicke became interested in the relationship between images of indigo plants that she collected from the archive and actual materials made from the plants themselves. In collaboration with the Busan Biennale’s research team, she gained knowlegde for making and using dye made from locally grown indigo plants. The delicate dyeing process, which involves repeatedly soaking and removing the paper or fabric, is revealed by the layered shades of indigo. Then, images of indigo plants from the GBIF archive were printed on the dyed paper with gravure printing. As such, each individual print is an aesthetic record of the unique climate and soil conditions of the area where its respective plants were collected. Significantly, as the labels of the prints reveal, each of those areas is a zone of historical conflict with its own story: “Tonkin/Vietnam 1945”; “Kangwon/North Korea 1969”; “Nagasaki/ Japan 1863”; and “Hopei/China 1948.”
 
In Without a Name (2004–2007), Danish artist Pia Rönicke tells the story of Le Klint, the woman who helped to create the famous Le Klint lamps (the Danish lighting company known worldwide for their trademark pleated lampshades), but never received credit after losing the rights to her own name. In 1901, Le Klint’s grandfather came up with the idea of making a lampshade from pleated paper. The family then experimented with various iterations of the idea until 1943, when Le Klint’s father began selling the pleated lampshades on the commercial market. While paper lampshades themselves were not new, the idea of pleated lampshades was an innovation. Notably, the fundamental process of folding the paper was typically left to the female workers, who were treated like invisible machines, while Le Klint’s father handled the business side and thus reaped the profits. When Le Klint was eighteen, her father had her sign a contract granting him the rights to her name, to use for the lamp company, an episode that was then repeated twenty-five years later with Le Klint’s brother. Pia Rönicke originally wanted to tell this story in the form of a video, but changed her mind after meeting Le Klint, for fear of once again appropriating her name. Instead, the artist chose to use Le Klint’s autobiography as a background source. Rönicke then integrated the story of her own interactions with Le Klint, visited libraries and museums to conduct research and to retrace the story of Le Klint, the lamp and the person behind the name.
 
Pia Rönicke

b. 1974, Roskilde, Denmark
Lives in Copenhagen, Denmark

Pia Rönicke uses archiving and collection work to investigate the artistic environments and perspectives of female activists, architects, and artists within botany and history. Rather than conforming to temporal constraints or formalism, she has mainly adopted a long-term project approach. Over the past few years, exhibitions such as Drifting Woods (Gävle Konstcentrum, Gävle, 2021), Word for Forest (Parallel Oaxaca, Oaxaca, 2019), and The Cloud Document(Overgaden Institute of Contemporary Art, Copenhagen, 2017) have seen her retracing Danish botanist’s expeditions to collect plant samples, conducting research everywhere from botanical gardens in Copenhagen to the vast forests of Mexico. Adopting a range of representational approaches that include specimens, flower pressings, photogravures, and the production of maps using metadata on collection site, date, coordinates, and altitude, she reveals the geopolitical conditions associated with plant migration, systematization, and concepts of territory based on colonialism and territorial wars.

LIST
TOP