스킵네비게이션

Archive

Busan Biennale 2018

이전메뉴 다음메뉴
ArchiveBusan BiennaleBusan Biennale 2018Artists & ArtworksMuseum of Contemporary Art Busan

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 Sera Waters

Read 2,600

관리자 2022-12-16 15:08

작가Sera Waters
Storied Sail Cloths, 2021, Various repurposed and hand-dyed threads, string, cotton, found fabrics, felt and beads upon vintage linen/hemp. Installed with hemp rope, brass fittings and South Australian minerals. Dimension variable. Art Gallery of South Australia.
Storied sail cloth: #1 Ketches, 2021, 131×66cm.
Storied sail cloth: #2 Drainage, 2021, 136×130cm.
Storied sail cloth: #3 Mine, 2021, 136×66cm.
Storied sail cloth: #4 Seeding, 2021, 174×116cm.
Storied sail cloth: #5 Pugholes, 2021, 88×68cm.
 
South Australian artist Sera Waters creates exquisite textile works of delicate knots and embroidery on repurposed vintage fabrics. Storied Sail Cloth consists of five large sailsrespectively subtitled “Ketches,” “Drainage,” “Mine,” “Seeding,” and “Pugholes”—that are made from second-hand linen and burlap and installed in the rough shape of a ship. Collectively forming a montage of an ecological crisis, the sails feature portraits of ancestors and fragments of topological maps. All of these motifs are associated with destructive projects from the colonial history of South Australia. While creating homes and livelihoods, the settler colonists, including Waters’ own ancestors, engaged in violent practices of land clearing, farming, and mining, which depleted resources and caused problems that continue to this day. Through her art, Waters conveys such hidden or unspoken truths. For her, the sails are hurtful symbols of the history of colonization, especially the dispossession and damage of the First Nations peoples, but also hopeful symbols of a brighter future and new horizons. From a contemporary perspective, she seeks to revive endangered skills such as sail-making and various traditions of hand embroidery. More recently, she has been exploring how these textile traditions can directly improve the future by redressing problems of climate change.
 
Sera Waters

b. 1979, Murray Bridge, Australia
Lives in Adelaide, Australia

Through her embroidery work Sera Waters carries on a tradition of textile crafts from across generations. These traditions are combined with everyday items to visualize genealogical ghostscapes: a history of facts that have been denied and concealed, including the normalized traditions and destructive colonial acts which have been repeated and perpetuated in the name of colonial home-making. Through exquisitely detailed stitching, she focuses on Australian natural landscapes that have been colonized through settlement, cultivation, and the abuse of resources over the generations. Recently, she has been focusing her experiments on the ways in which textile traditions might help with the future amid the effects of climate change. In addition to the solo exhibitions Specks (Hugo Michell Gallery, Adelaide, 2021) and Domestic Arts (ACE Open, Adelaide, 2017), Waters has taken part in international events such as the 16th Adelaide Biennial of Australian Art (2022) and the 1st Chaozhou International Embroidery Art Biennial (2018).

TOP