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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 Jennifer Tee

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관리자 2022-12-16 14:17

작가Jennifer Tee
Tampan Sessile Beings, Sacred Shrine, 2022, Tulip petal collage, piezography on etching paper, 171×167.3cm, A.P. 1(ed. 1/3).
Tampan World Mountain, Ancestral Creatures, 2022, Tulip petal collage, piezography on etching paper, 185×172cm, A.P. 1(ed. 1/3).  
Tampan World Mountain, Tree of Life, 2021, Tulip petal collage, piezography on etching paper, 172×188cm, A.P. 1(ed. 1/3). Courtesy of the artist and Gallery Fons Welters.
 
In her Tampan Tulip series, Jennifer Tee reinterprets popular motifs of tampan (traditional Indonesian textiles) in collages made from dried and compressed tulip petals, a popular symbol of the Netherlands. Tampan textiles are primarily produced in the Lampung region of southern Sumatra, Indonesia. Featuring both mountains and the sea, this region bears many similarities to Busan, including a long history as a vital maritime trade route and crossroads of culture and art. Often exchanged at ceremonies commemorating seminal events of a persons life (e.g., birth, coming-of-age, marriage, and death), tampan is a cultural product that carries deep symbolic associations of an individuals existence while also serving to unite the community. Many tampan feature the quintessential design of a ship carrying living people, human souls, animals, and plants. This microcosm of nature, humans, leave out and gods is intended to represent the journey of a spiritual life, while also invoking themes of adventure, wandering, change, and movement. From such themes, Tee evinces a confused state brought on by loss, instability, and the incongruity between mind and body. In this design, the ships masts merge with human forms, extending upwards like the tree of life. The imagery also relates to the artists family history, as her father with his parents and sister emigrated to the Netherlands from Indonesia by boat in the 1950s, and her grandfather often sailed to the Americas as an exporter of tulip bulbs. The artists autobiographical inquiry is thus integrated into a multi-layered investigation of family genealogy, the history of migration, and the intersection of languages and cultural identities.
 
Jennifer Tee

b. 1973, Arnhem, Netherlands
Lives in Amsterdam, Netherlands

Spanning genres such as tapestry, collage, sculpture, installation, and performance, Jennifer Tees work shows her interest in cultural interchange and hybrid identity. Close to a decade, she has been producing work in her Tampan Tulip series, in which pressed and dried tulip petals are used to make collage images based on motifs found in Indonesias traditional tampan and palepai cloths. Bearing connections with her familys diasporic narrative, this work encompasses Tees explorations of cultural background, migration, cultural identity, lineage, and heritage. Her works has been shown at the performance commission Drift (Stedelijk Museum Amsterdam, Amsterdam, 2020) and the solo exhibition, Let It Come Down (Camden Arts Centre, London & Bonner Kunstverein, Bonn, 20172018). She also has taken part in such international events as the 16th Istanbul Biennial (2019) and the 33rd Bienal de São Paulo (2018). Attracting popular notice in 2018 when she was commissioned to produce an 18-meter tulip palepai that covered the wall of Amsterdams Centraal Station, she was awarded the Amsterdam Prize in 2020. Her solo show at Secession (Vienna) opens in September 2022.

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