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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 Marwan Rechmaoui

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관리자 2022-12-16 14:23

작가Marwan Rechmaoui
Noah’s Ark (Odyssey Series), 2022, Pastel and pencil on paper, 100×70cm.
Home Coming (Odyssey Series), 2022, Collage, pastel and pencil on paper, 100×70cm.
Golden Fleece (Odyssey Series), 2022, Pastel and pencil on paper, 70×100cm.
Horizon III, 2021, Concrete, structures beeswax, oil pigment, 20×360cm.
Gallery 6.08, 2020, Compressed metal, 45×68×25cm (16).
Gallery I, 2020, Recuperated aluminum bars mounted on wood, 108×110×8.5cm.
Gallery II a, 2020, Recuperated aluminum bars mounted on wood, 108×109×7cm.
Gallery II b, 2020, Recuperated aluminum bars mounted on wood, 110×108×7cm.
Gallery VII, 2020, Recuperated aluminum bars, 206×159cm.
Courtesy of the artist and SfeirSemler Gallery
 
Marwan Rechmaouis artworks derive from his own methodical study of the complex multicultural history, socio-political structure, geography, demographics, and architecture of his home city of Beirut. Primarily using industrial materials such as concrete, metal, rubber, and tar, Rechmaoui creatively expresses the history of Beirut and the memory of its community, ultimately exploring the surprising correlations between the defining characteristics of a city and the people who live there. On August 4, 2020, Beirut was rocked by a massive explosion in a port warehouse near the city center, which took the lives of more than 200 people, while injuring more than 6,000 and leaving some 300,000 homeless. This tragic accident debilitated and destabilized the entire society of Lebanon, which was already suffering due to the economic crisis. To commemorate the ravaged city, the victims, and the lost memories, the artist recovered about 600 kg of metal from the rubble of the explosion, which he then compressed into thirty-four pieces. He also collected damaged aluminum window frames and mounted them on wooden panels in the form of a mobile. This powerful installation thus conveys the haunted memories of the city of Beirut, even to those who have never been there and did not personally experience the accident, thereby drawing our attention to the instabilities of every city in which we live.
 
Marwan Rechmaoui

b. 1964, Beirut, Lebanon
Lives in Beirut

Marwan Rechmaoui creates artworks that reflect his methodical research on topics including Beiruts complex multicultural history, sociopolitical structures, geographical conditions, demographic data, architectural and urban history, and urban development. Focusing his attention on the key factors behind the citys composition and the relationships of people living in cities, he uses industrial materials such as concrete, metal, rubber, and tar to record the histories of cities and portray community memories. His works reflect the cultural, political, and economic changes that relate to places. In addition to the solo exhibitions But the trees kept voting for the axe (Sfeir-Semler Gallery, Beirut, 2021) and Slanted Squares (Bonnefantenmuseum, Maastricht, 2019), he has also taken part in group exhibitions and international events such as Écrire, cest dessiner (Centre Pompidou Metz, Metz, 2021), the 12th Gwangju Biennale (2018), the 13th Istanbul Biennial, Here and Elsewhere (New Museum, New York, 2014), and On the Edgware Road (Serpentine Gallery, London, 2008).

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