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 Evelyn Taocheng Wang
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관리자 2022-12-16 14:09
Ink Harbour, 2022, Ink on korean paper, lamps, wooden tables, cables and glasses, 98×44cm (5).
Performance, A Scripted Impression, Sep. 2 (Fri), Sep. 3 (Sat) 1 p.m.
b. 1981, Chengdu, China
Lives in Rotterdam, Netherlands
The work of Evelyn Taocheng Wang originates in her interest in the ways in which various elements of individual identity—including gender, ethnicity, class, style, and desires—are shaped amid a complex cultural relationship with autobiographical experiences and social structures. This bears connections with her own experience and narrative as someone who was born and raised in China before studying in Germany and the Netherlands, where she encountered linguistic and cultural alienation and the absence of a feeling of belonging. Her approaches include painting upon techniques and materials from traditional Eastern painting to represent the contemporary living experience and individual impressions of day-to-day life, while also borrowing from and translating the forms of major work from Western art history, which she called it as “Energy-Appropriation”. Yet hers is a different kind of approach from the presentation of conceptual or philosophical insights on a basis of extensive and tenacious research. Rather, it is more poetic and elegant, as Wang intuitively documents fragmentary visual impressions of objects from an outsider’s perspective—remaining cognizant of the lingering gaps, misunderstandings, and dissonances—and realizes her forms through a mixture of fantasy, reality, and memory. Her work has been shown at the solo exhibitions Reflection Paper (Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 2021) and What Is He Afraid Of? (KW Institute for Contemporary Art, Berlin, 2018) and also has been featured in the Stedelijk Museum Amsterdam (2020), documenta 14 (Kassel, 2017), and Manifesta 11 (Zürich, 2016).