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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 Sandy Rodriguez

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관리자 2022-12-16 15:06

작가Sandy Rodriguez
Mapa de Los Angeles 2020 —For Our Neighbors Killed by Police Amid Protests and Pandemic, 2022, Hand-processed dyes and watercolor from native plants and earth pigments on amate and 23k gold, 119.38×240.03cm.
Mapa de Califas: Atrocities, Isolation and Uprisings 2020 –2021, 2020 – 2021, Hand-processed dyes and watercolor from native plants and earth pigments on amate paper, 240.03×119.38cm.
Mapa de Los Angeles: For Those Killed by Police in 2018, 2018, Hand-processed dyes and watercolor from native plants and earth pigments on amate paper, 119.38×240.03cm.
Mapa de los Child Detention Centers, Family Separations and Other Atrocities, 2018, Hand-processed dyes and watercolor from native plants and earth pigments on amate paper, 119.38×240.03cm.
 
Since 2017, Sandy Rodríguez has been working on her Codex Rodríguez–Mondragón series, which maps the ongoing cycles of violence against people of color that are taking place in California and around the border between the United States and Mexico. Rodriguez’s maps are painted on amate paper, which was once outlawed during the colonial period, with hand- processed watercolors made from earth, plants, and insects. By thus rediscovering the medicinal and aesthetic uses of local plants and pigments, she revives the indigenous artistic traditions of Native Americans. Incorporating history, social memory, and contemporary politics, her works visualize and sooth the wounds from police violence and border control. For example, Mapa de los Child Detention Centers, Family Separations and Other Atrocities (2018) reveals how the US-Mexico border changed due to the 1848 Treaty of Guadalupe Hidalgo. It is drawn with walnut ink using the feather of a great horned owl that the artist found while doing field research in Montezuma, New Mexico. In the map, a group of weeping mothers, who are drawn from the sixteenth-century Florentine Codex, are seated near Tornillo, Texas, the site of a tent city where children were detained in 2018. In Mapa de Los Angeles: For those Killed by Police in 2018 (2018), the places where twenty-one residents were killed by police in 2018 are marked with dark red pigment. The topographic landscape is painted with ochers and wood pigments, while the sky and ocean are painted in Maya blue, symbolizing the Latin community. Ghostly images of an infamous public execution that took place in the 1870s are painted in walnut ink over the site of the present- day Superior Court in downtown Los Angeles. Similarly, in Mapa de Los Angeles 2020 - For Our Neighbors Killed by Police Amid Protests and Pandemic (2022), the places where residents were killed by police in 2020 are marked with ocher circles, with the name of the deceased written on the lower right. The title is painted in red ocher that the artist meticulously hand-produced from locally foraged materials, as an offering to the dead. The sky is filled with sparkling stars made from 23k gold, but we can also see a comet and an owl, both omens of death, as well as a “calavera copter” modeled after LA police helicopters. Another calavera copter can be seen in Mapa de Califas: Atrocities, Isolation and Uprisings 2020-2021 (2020–2021), which dramatically depicts protests that erupted in Oakland and other West Coast cities during the pandemic. A police car burns within the seemingly barren landscape, while the police use tear gas to subdue protesters who wear surgical masks and carry signs, one of which reads “not one more death.” The masks and style of clothing blur any distinction between the recent protests and those of the past.
 
Sandy Rodriguez

b. 1975, California, USA
Lives in California

Sandy Rodriguez is a visual artist and researcher who grew up in San Diego and Los Angeles in California, and Tijuana, Baja California, Mexico. Her works map intersactions of history, social memory, and contemporary politics. Strongly influenced by both the 16th-century colonial Florentine Codex and present-day incidents along the US-Mexico border and Western US, her series Codex Rodriguez-Mondragón maps the ongoing cycles of violence on communities of color by blending historical and recent events. The maps are painted with locally sourced natural materials such as minerals, plants, and insects employed in recipes that were used in the pre-Columbian culture. The images are painted on sacred (formally outlawed) Amate paper made from fig and mulberry tree bark. In addition to her major solo exhibitions In Isolation (Amon Carter Museum of American Art, Texas, 2021) and Sandy Rodriguez: Codex Rodriguez-Mondragón (Riverside Art Museum, California, 2018), she has also presented her work at the group exhibitions Traitor, Survivor, Icon: The Legacy of La Malinche (Denver Art Museum, Colorado, 2022) and Estamos Bien: La Trienal 20/21 (El Museo del Barrio, New York, 2021).

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