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 Chong Kim Chiew

Read 2,899

관리자 2022-12-16 15:34

작가Chong Kim Chiew
Boundary Fluidity, 2014 –, Acrylic on tarpaulin, Single-channel video, 240×180cm (30), 13min. 46sec.
 
Since 2007, Chong Kim Chiew has been working on his series Boundary Fluidity, using video, photography, and maps painted on tarpaulins to examine the historical misuse and misunderstanding of maps. He pays special attention to the ongoing alienation of the “third space, which continues to be partitioned from official discourse. By repeatedly redrawing and repainting maps and writings on tarpaulin, with each layer building upon but also wiping out the previous layer, Chong highlights the accumulating ambiguity of images and documents derived from existing traces. Being rendered on tarpaulin, his works can be easily folded and unfolded, or rolled up like a scroll, allowing them to be creatively installed in various ways in any type of space, indoors or outdoors. Through these flexible and diverse modes of exhibition, the artist is able to performatively intervene with each respective space. For this exhibition, thirty maps (eighteen of which have been newly produced) are hung at different heights from the ceiling and outer wall of the warehouse at Pier 1. An accompanying video records scenes of the map-paintings being hung in everyday places, such as parking lots, balconies, and beaches. By expressing the shifting geographical and political topography of countries in Southeast Asia, including Malaysia, the artist deconstructs the notion that maps are centered on a single ethnic group or nation, revealing the myriad history and symbols within each region.
 
Chong Kim Chiew

b. 1975 in Kuala Lumpur, Malaysia
Lives in Petaling Jaya, Malaysia

Combining various materials and methodologies in his work, Chong Kim Chiew investigates dialectics for discussing the contradictions between self and other, interior and exterior, embracing and excluding. Exploring evidence of the geopolitical boundaries that have been constructed and transformed by global hegemony, he shows his interest in map mistranslations, historical metaphor, and third spaces. In particular, he concentrates on situations of deferred discourses that are not proclaimed through the political power structure, delving into the reality and transformations of the boundaries that govern the relationship between individual and society. He has presented his work at the solo exhibition Make Money with Money, Make Art with Art (A+ WORKS of ART, Kuala Lumpur, 2021), the 10th Asia Pacific Triennial of Contemporary Art (Brisbane, 2021-2022), and the group exhibition Open Sea (Musée dart contemporain de Lyon, Lyon, 2015).

TOP