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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 Lee In-Mi

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관리자 2022-12-16 14:22

작가Lee In-Mi
Cityscape_Beomjeondong, 2022, Archival pigment print, 210×300cm, A.P. 1(ed. 5).
Cityscape_Yeongdo, 2022, Archival pigment print, 210×300cm, A.P. 1(ed. 5).
Cityscape_Marinecity, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5).
Cityscape_Songdo, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5).
Cityscape_Bujeondong, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5).
Cityscape_Sujeongdong, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5).
Cityscape_Jwacheon Area, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5).
Cityscape_Jwacheon·Beomil Area, 2022, Archival pigment print, 150×100cm, A.P. 1(ed. 5). 
  
In her Cityscape photography series, Lee In-Mi documents the ever-changing architectural landscape of Busan, highlighting the perilous emergence of skyscrapers and high-rise apartment complexes throughout the city. With their mixture of seemingly heterogeneous elements, Lee’s photos often resemble composite images chronicling the fantastical city of Busan. One archetypical scene is divided into three layers—the sea, old houses, and new high-rise buildings—that embody different time periods and desires. In Cityscape_Beomjeondong, Lee photographed the former site of the Hayaria camp of the US Army, an area that was US territory for around 100 years, before being returned to Busan and developed into Busan Citizens Park in 2000. In the photo (taken twelve years ago), weeds grow up through the asphalt in what is now a parking lot surrounded by several new apartment buildings. Cityscape_Yeongdo shows different apartment buildings facing the harbor where various large ships are anchored in stillness, conveying a deep sense of calm that is more akin to a lake, rather than an ocean. The image reminds us that the waters around Busan are shared equally by ships of leisure and ships of industry.
 
Cityscape_Marinecity depicts the splendid skyline of Marine City, a residential area near Haeundae that boasts several dazzling high- rise buildings. While many towering new apartment complexes have been built in old residential areas around Busan, the buildings of Marine City are uniquely placed next to the water, thus becoming part of the ocean view. The new developments of “Marine City” and its neighbor “Centum City” have quickly risen to become familiar symbols of Busan. Another district with high-rise buildings near the ocean is Annam-dong, which is shown in Cityscape_Songdo. However, these waters are still part of the industrial portion of the sea, as evidenced by the factories, workshops, and refrigerated warehouses that coexist with the apartments. As seen in Cityscape_Bujeondong, new apartment buildings have also sprouted around Bujeon Station (on Line 1 of the subway), which will soon become the starting point of the new Gyeongjeon Line, after having formerly served as the terminus of the decommissioned East Sea South Line Train. Cityscape_Sujeongdong and Cityscape_Jwacheon Area respectively document new apartment complexes that have appeared around Sanbok Road, a steep and rugged road, and between the overpasses that run from Sujeong Tunnel to North Port. While Sanbok Road represents the unique mountainous landscape of Busan, the overpasses and bridges that penetrate the mountains and span the sea show how the city is continuously expanding through these topographical boundaries. Finally, Cityscape_Jwacheon · Beomil Area reveals the current state of the neighborhood that was created through the reclamation of Busanjin in the 1920s and 1930s. After independence in 1945, this area, formerly occupied by stables and soldiers’ quarters of the Japanese, was quickly filled with shanty houses built by war refugees and Koreans returning from Japan. Thanks to its close proximity to industrial facilities such as North Port, 55 Supply Depot, Dongmyeong Wood, and Chosun Textile Company, this district rapidly became the economic center of Busan, before once again falling into shambles with the decline of the manufacturing industry. Today, new high-rises are being built in the neighborhood, even as some have called for it to be protected as part of Busan’s Modern Cultural Heritage.
 
Lee In-Mi

b. 1967, Busan, South Korea
Lives in Busan

Lee In-Mi is a photographer who adopts an architectural perspective in her black-and-white images of Busan’s urban areas and landscapes. Tracking the fast-paced activities of the city, she seeks out landscapes in order to record everyday memory as she renders the dazzling colors in monochrome. Through her artistic perspective, she serenely displays the urban architectural uniqueness and qualities that exist only in Busan. She is also interested in archival work that records memories associated with cities, as well as communities that share culture. In addition to the solo exhibitions FRAME (Toyota Photo Space, Busan, 2012) and Yeongdo Bridge (Bandee, Busan, 2011), she has also taken part in numerous group exhibitions and international events, including Busan: It exists now as it was then (F1963, Busan, 2019) and the Busan Biennale 2012.

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