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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 Moon Jiyoung

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관리자 2022-12-16 14:25

작가Moon Jiyoung
For What the Woman Prays X, 2021, Oil on canvas, 227.3×324.2cm.
My Dear, My Love, My Big Sister, 2021, Oil on canvas, 193.3×336.6cm.
For What the Woman Prays VI, 2020, Oil on canvas, 193.9×130.3cm.
Left A Pile of ( ), 2019, Oil on canvas, 72.7×90.9cm.
Right For What the Woman Prays II, 2018, Oil on canvas, 116.8×91cm.
 
Moon Jiyoung’s For What the Woman Prays series is inspired by Moon’s mother, whom Moon witnessed pray piously for her disabled sibling since Moon was a child. The artist recalls her mother relying on faith to carry through, setting up the prayer sanctum before anything else whenever the family moved. She also remembers the family trips to temples and hermitages every holiday. Moon asks why the patriarchal structure of Korean families forced women thrown in desperate situations to blame themselves or rely on primeval beings instead of criticizing the failure of society’s systems. Under the veil of desperate piety also lie fear and illusion. Moon depicts how those women had nowhere to turn but to prayer in their pursuit of their families’ well-being. Meanwhile, the artist’s series is resilient and ever-expanding, demonstrating the robust solidarity between women across generations. These lives of women, as frail as they may be individually, help and rely upon each other like branches of an old tree as expressed by the artist. The young sisters perilously standing with life vests atop the red waters of My Dear, My Love, My Big Sister each casts a contrasting expression. Unlike the innocently smiling younger sibling, the older sister seems subtly tense. Moon reflects on her feelings and attitudes as a sister of a disabled sibling, while contemplating on the meaning of sisterhood, family, and consolation in each other.
 
Moon Jiyoung

b. 1983, Busan, South Korea
Lives in Busan

Moon Jiyoung raises questions surrounding the power of the gaze toward people who have been excluded from society or forced into its margins. Through images of her mother’s long devotion to the progression of her disabled siblings and of herself caring for her now elderly mother, she explores human existence and raises endless questions about the meaning of “ordinary.” Recently, she has broadened the scope of her work into images related to blind faith, focusing on situations in which disadvantaged members of society see nowhere else to turn except the religion in the hope of wellness and fortune. In addition to various solo exhibitions such as Melting Pile of Candies—For What the Woman Prays (Space Dot, Busan, 2019) and A Condition of Ordinary (Pusan National University Arts Center, 2015), she has taken part in group exhibitions including Caring Society (Gyeongnam Art Museum, Changwon, 2021) and Stranger in a Strange Land (Busan Museum of Art, Busan, 2020).

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