스킵네비게이션

Archive

Busan Biennale 2018

이전메뉴 다음메뉴
ArchiveBusan BiennaleBusan Biennale 2018Artists & ArtworksMuseum of Contemporary Art Busan

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 Grace Schwindt

Read 2,342

관리자 2022-12-16 14:13

작가Grace Schwindt
Witnesses (Bones, Leaves and Other Creatures), 2022.
Witnesses, 2022, Embroidery on fabric, 230×350cm. Embroiderer: Jungmin Son
Humerus with Leaves and Figure, 2022, Raku-glazed ceramic, 56×26×18cm.
Broken Dress and Fragments, 2022, Raku-glazed ceramic, 19×13×6cm, Dimension variable.
Shoulder Blade with Leaves and Figure, 2022, Raku-glazed ceramic, 14×30×3cm.
Lying Leaf and Fragments, 2022, Raku-glazed ceramic, 24×18×11cm, Dimension variable.
Tibia with Leaves and Figure, 2022, Raku-glazed ceramic, 42×32×32cm.
Figure with Broken Leaf, 2022, Rakuglazed ceramic, 42×20×21cm.
Broken Back in Two Parts, 2022, Raku-glazed ceramic, 16.7×6×2.7cm, 19.5×6×4cm.
Femur with Leaves and Figure, 2022, Raku-glazed ceramic, 55×19×20cm.
Flying Leaf and Fragments, 2022. Raku-glazed ceramic, 19×13×10cm, Dimension variable.
Broken Rim and Fragments, 2022, Raku-glazed ceramic, 10×14×7cm, Dimension variable.
Skull with Leaves and Figure, 2022, Raku-glazed ceramic, 24×30×26cm.
Ilium with Leaves and Figure, 2022, Raku-glazed ceramic, 22×27×26cm.
Sacrum with Leaves and Figure, 2022, Raku-glazed ceramic, 20×32×46cm.
Figure with Broken Leaves and Fragments, 2022, Raku-glazed ceramic, 29×14×14cm, Dimension variable.
Tibia and Femur with Leaves and Figure, 2022, Raku-glazed ceramic, 50×31×20cm.
Lying Figure with Leaves, 2022, Raku-glazed ceramic, 10×51×19cm.
Ribs with Leaves and Figure, 2022, Raku-glazed ceramic, 12×35×32cm.
Broken Leaf and Fragments, 2022, Raku-glazed ceramic, 14×29×24cm, Dimension variable.
Ulna with Leaves and Figure, 2022, Raku-glazed ceramic, 45×20×15cm.
 
Grace Schwindts work explores how social and political structures can become part of every aspect of our lives, of the way we memorize, of the way we feel, touch and think. The figurative and abstract forms that appear as sculptures, on paper, in live performances, in music and text negotiate possibilities of refusing to function in pre-determined ways and positions. The figures often show their wounds or their hurt, but through that appear strong and calm. Many of them are in a state of transition from a strong bone structure to a more fluid or abstract shape. However, they can be read in either direction: from figurative to abstract or from abstract to figurative and either element can be read as the one giving strength. She speaks about historical trauma through individual experiences and negotiates ways in which trauma is carried through individual bodies, however she believes that through that the individual trauma is part of society and with her work she proposes to be close to the individual trauma. She attempts to balance fragility, trauma, hurt, strength, love and care in a non-linear, non-binary and non-hierarchical way.
 
Grace Schwindt

b. 1979, Offenbach am Main, Germany
Lives in London, UK

Grace Schwindt produces videos, performances, sculptures, and drawings that focus on and explore the effects that capitalist culture has on individual bodies and minds. Her work often originates in specific events and research, or in dialogues with different people ranging from activists to artists, musicians, politicians, and refugees. Her solo exhibitions include Five Surfaces All White (Centre for Contemporary Arts, Glasgow, 2019) and Silent Dance (Zeno X Gallery, Antwerp, 2018), and she has also taken part in the exhibition Refugee: Forced to Flee (Imperial War Museum, London, 2020), the 1st Anren Biennale (2017), and the 14th Istanbul Biennial (2014).

TOP