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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 Oh Suk Kuhn

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관리자 2022-12-16 14:32

작가Oh Suk Kuhn
Busan(釜山) 01, 2022, Digital C-print, 115×144×5cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 02, 2022, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 03, 2022, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 04, 2022, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 06, 2022, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 07, 2022, Digital C-print, 115×144×5cm. from the series ‘Enemy Property(敵産)’.
Busan(釜山) 10, 2022, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
Incheon(釜山) 71, 2021, Digital C-print, 115×144×5cm. from the series ‘Enemy Property(敵産)’.
Incheon(釜山) 72, 2021, Digital C-print, 84×70×4cm. from the series ‘Enemy Property(敵産)’.
 
Oh Suk Kuhn photo documents personal and collective memories interweaved with modern and contemporary history of Korea, focusing on Incheon where he was born and raised. In particular, he researches the forms of houses that were built by the Japanese in Korea during colonialism and why they were built such way. Since the liberation of Korea from Japan, individuals bought these properties of the enemy (Jeoksan-gaok) from the US army and the Syngman Rhee government. Ohs research examines the process through which such properties were altered and ended up in their states today. His research captures the layers of Korean modern history, the histories of the open port city of Busan and Incheon, and the history of our life and culture. In particular, Oh highlights the remnants of Jeoksan-gaok remaining in Daejeo, Gadeokdo and Open Port in Busan. While Jeoksan-gaok is ostensibly an ideological and political term, what fills the Japanese framework is the life and culture of Korean people. Deconstructing the birth, façade, and inside of Jeoksan-gaok, we come to ask ourselves whether the subject of the house is indeed a symbol of a nation and its people. Studying Jeoksan-gaok is also an act of portraying in detail not only ourselves as individuals but also as a single collective whole, as well as the firm layers of history and culture accumulated underneath it. Through this process, Oh attempts to reveal the present as a sediment of infinite accumulation of time and actions, rather than deleting or freezing it by simply historicizing a certain subject.
 
Oh Suk Kuhn

b. 1979, Incheon, South Korea
Lives in Incheon

Oh Suk Kuhn uses photography to represent and record personal memories associated with Koreas modern and contemporary history, majorly based in the city of Incheon, where he was born and raised. He applies his lens to explore the changing interiors and exteriors of Japanese-style homes (known in Korean as jeoksan gaok, which literally means enemy property houses) and the times and memories created by Koreas experience with colonization, modernization, industrialization, and war; these are then woven together into a countermemory. His major solo exhibitions include Incheon (仁川) (Incheon Urban History Museum & Space Beam, Incheon 2019), From the Sea to Youth + Ash and Dust (179 & 180 Yeonji-dong, Jongno-gu, Seoul, 2012), and The Text Book (Chulsoo & Younghee) (Base Gallery, Tokyo, 2011), while major group exhibitions include Enemy Property (敵産) (Buyeon, Incheon, 2021), Lesson Ø (National Museum of Contemporary Art, Gwacheon, 2017), and Terra Galaxia, an exhibition in the collateral event City State of the Liverpool Biennial 2012.

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