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Busan Biennale 2018

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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 Sancintya Mohini Simpson

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관리자 2022-12-16 15:05

작가Sancintya Mohini Simpson
Kūlī/Karambu, 2021, Watercolor and gouache on handmade wasli paper, 63×88cm (15). Courtesy of the Artist and MCA.
The Language of Indenture, 2019, Single-channel video, sound, 6min. 19sec. Courtesy of the Artist and Milani Gallery.
 
With Kūlī/Karambu, Sancintya Mohini Simpson borrows the format of Indian miniature painting to commemorate the stories of working women. The work consists of fifteen paintings arranged like a grid, combining images of nature, such as rivers, mountains, and the sea, with bleak scenes from the colonial era, such as plantations, factories, ships transporting workers, and living facilities for workers. In the Tamil language, “kūlī” refers to poor, low-caste laborers who are often tasked with carrying heavy loads, while “karambu” means sugar cane. As a descendent of indentured labourers from India who were sent to work on colonial sugar plantations in South Africa, Mohini Simpson set out to document the lives and experiences of women from this era. This work is based on the experiences of those indentured - including her family. This research began from conversations with the artists mother, who had migrated from Durban, South Africa to Brisbane, Australia. Similarly, the video The Language of Indenture tells a story of language, culture, and collective loss shared between the artist and her mother amidst the intense heat of Australia. The video also describes how the songs of the Indians who worked in South Africa were changed, lost, and rewritten.
 
Sancintya Mohini Simpson

b. 1991, Brisbane, Australia
Lives in Brisbane

Sancintya Mohini Simpson is a descendent of indentured labourers sent from India to work on colonial sugar plantations in South Africa. Drawing on historical documents Simpsons work builds new archives as she traces her familys history. She navigates the complexities of migration, memory, and trauma by addressing gaps and silences within the colonial archive. Simpson works across painting, video poetry, and performance, building rituals to facilitate healing and ongoing resistance. In addition to a solo exhibition Kūlī nām dharāyā/ theyve given you the name coolie (Institute of Modern Art Belltower, Brisbane, 2020), she has taken part in numerous group exhibitions at major Australian museums including Blue Assembly: Oceanic Thinking (UQ Art Museum, Brisbane, 2022) and The National 2021: New Australian Art (Museum of Contemporary Art Australia, Sydney, 2022).

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