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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 Otobong Nkanga

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관리자 2022-12-16 14:44

작가Otobong Nkanga
Soft Offerings, 2022, Performance, wood, plants, earth, seeds, strings, oil, water, incense, Dimension variable.
Date & Performer: Sep. 2 (Fri) 2 p.m., Otobong Nkanga, Eunjoo Im / Sep. 3 (Sat) 2 p.m., Otobong Nkanga, Taeseok Choi / Sep. 10 (Sat), Oct. 8 (Sat),  ct. 22 (Sat), Oct. 29 (Sat), Nov. 5 (Sat) 5:30 p.m., Eunjoo Im, Taeseok Choi.
Scorched, 2022, Metal, soil, 60×40×4cm (2). pp.
Soft Rock, Soft Bed, 2021, Hand dyed ool, murano glass, handmade cords, 140×145×14cm. Courtesy of the Artist and Nicoletta Fiorucci Collection. pp.
Leaving Trails in the Distance, 2021, Hand dyed wool, murano glass, wood handmade cords, clay, oil, herbs, 290×230×30cm. 
 
Born in Nigeria and now based in Belgium, Otobong Nkanga produces elaborate installations that trace the history of land and water. She raises compelling questions about environmental upheavals, social and economic inequality and strives to create systems and structures of repair. For past exhibitions, Nkanga created unusual and irregular carpets that were shaped like minerals. The hand-woven cords of her Soft Rock, Soft Bed and Leaving Trails in the Distance extend into the surrounding space to connect with various sculptural objects made of glass, wood, and terracotta. Notably, the sculptures also include organic materials, such as herbs, spices, and soil, giving each component a sensuous natural form that expresses passage and connection between distant points. For this exhibition in Busan, Nkanga presents poetry works Scorched made from solidified soil, along with Soft Offerings, a giant piece of solid wood (3 meters long) that is both a sculpture and a stage for a unique performance. By making two people move together using one anothers bodies as counterbalances, the new work evinces the inherent symbiosis between humans and the earth.
 
Otobong Nkanga

b. 1974, Kano, Nigeria
Lives in Antwerp, Belgium

Working in a broad range of areas that include drawing, photography, installation, video, performance, and literature, Otobong Nkanga raises fundamental questions about land, exploring the relationships and conflicts that emerge between human beings, land and other live forms. While human beings harvest and use different minerals and resources from our environment as we go about our lives, the result is a decoupling of this interrelationship as nature becomes subordinated to ruling structures. Using materials such as soil, minerals, oils, and plants to represent the economical, ecological and environmental issues that result from this, the artist notes the underlying aspects that are part of them: the desire for possession, exploitation, depletion, and extractivism. Her major solo exhibitions include Underneath the Shade We Lay Grounded (Sint-Janshospitaal, Bruges, 2022) and Otobong Nkanga (Kunsthaus Bregenz, Bregenz, 2021), and she has also taken part in the Documenta 14, (2017), 58th Venice Biennale (2019) and 14th Sharjah Biennial (2019).

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