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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 Yusuke Kamata

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관리자 2022-12-16 15:09

작가Yusuke Kamata
Japanese Houses, Stone Garden of Imperialism, 2022, Wood, inkjet print, acryl, paint, sand, monitors, 455×1160×1020cm.
 
Yusuke Kamata creatively addresses and explores various issues of contemporary society through the lens of architecture. For example, Kamata studied traditional Japanese wooden houses that still remain in Japan, Korea, Taiwan, Brazil, and the United States, examining their relationship with architecture within the context of historical and cultural changes. For this exhibition, he created new works inspired by the geopolitical relationship between Busan and Japan, especially Kyushu. According to the ancient historical text Chronicles of Japan, completed in 720 CE, Japans Empress Jingu once sent an army to the Korean Peninsula to conquer the kingdom of Silla. Notably, however, this story is not found in other contemporaneous historical records, such as Records of the Three Kingdoms or History of the Three Kingdoms. Nevertheless, for generations, until the end of World War II, the Japanese believed that this “Silla-Wa War” was a historical fact. Most significantly, in the late sixteenth century, Toyotomi Hideyoshi used Empress Jingus “Silla-Wa War” to justify Japans invasions of the Joseon Dynasty, claiming that Korea was still a Japanese protectorate. During the sixteenth-century invasions, Japan built fortresses in Korea, concentrated primarily in Busan and South Gyeongsang Province. For this work, Kamata linked the traces of these fortresses with contemporaneous fortresses in Kyushu, Tsushima, and Iki Island, where the stones of Empress Jingus legend still remain in various parts, to produce the image of a stone garden linking Busan and Kyushu. Although the physical structures of these fortresses no longer exist, the artist summoned their presence as key witnesses to the history of Japans invasions by arranging stones of the same age. The conjoined past and present of these two countries are embodied within Kamatas photos of Japanese-style houses, as well as his new work recreating a physical space that combines architectural elements from Japanese houses and Colonial stone gardens.
 
Yusuke Kamata

b.1984, Kanagawa, Japan
Lives in Fukuoka, Japan

As an artist, Yusuke Kamata uses his work to show the inherent distortions within architecture and history. He has created his own unique artistic body of work based on extensive research into topics such as Japans modern history, modern architecture, history, war, and linkages between industry and land. His major group exhibitions include Spinning East Asia Series II: A Net (Dis)entangled (CHAT, Centre for Heritage, Arts & Textile, Hong Kong, 2022), Jeoksan Gaok: Enemy Property (Buyeon, Incheon, 2021), Ongoing Dialogue (Yokohama Civic Gallery, Kanagawa, 2019), and How Little You Know about Me (National Museum of Modern and Contemporary Art, Korea, Seoul, 2018).

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