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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 Kam Min Kyung

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관리자 2022-12-16 14:18

작가Kam Min Kyung
A Song of Dongsook, 2022, Charcoal on canvas, 193.9×259.1cm.
Zero o’clock, 2022, Charcoal on paper, 220×150cm (12).
The Tides, 2022, Watercolor on paper, charcoal on canvas, 242×150cm (2).
 
Kam Min Kyung was born in Busan and never left until she became an adult. Yet, she currently finds herself working between other cities and countries. Still, scenes from her hometown permeate the backgrounds of her paintings like a signature that cannot be erased. Kams three new artworks are inextricably linked to her memories of Busan. Like a song listened to in her youth, or a dreamlike scenery intersecting reality and fiction, her paintings depict a certain nostalgia for Busan that can only be the result of a long period of gestation within herself. Kam uses the ideal of a woman stemming from her mothers generation and expounded in the popular song “A Song of Dongsook” (1966) to symbolically represent the difficulties of that period in her artwork. Adopting the title A Song of Dongsook as the name for her artwork, the artist derives the title from the debut song of Busan singer, Moon Juran, mentioned above and from a novel by Kim Sein of the same name. Both Zero oclock and The Tides are about a place where poverty and adversity, love and separation, hope and despair, and life and death simultaneously coexisted. Mold growing on the wallpaper of her childhood home and fragments of the dreamlike memories of her walking down the narrow alleyways of her neighborhood combine within these artworks.
 
Kam Min Kyung

b.1970, Busan, South Korea
Lives in Gwangju, South Korea

Through her experimental approach of juxtaposing and overlapping paintings depicting scenes encountered among new situations, environments, and people, Kam Min Kyung explores interconnections and oppositions while investigating the effects of the gaze. Her interest is in opening up space for interpretation as she guides the viewer to experience unfamiliar worlds in those moments where different perspectives intersect. Over the course of her recent residencies in Busan, Japan, and Germany, she has used her experience with changing locations as a basis for broadening her artistic scope. In addition to the solo exhibitions SO.S(SARUBIA Outreach & Support)-Kam Minkyung: I was his metaphor (Project Space SARUBIA, Seoul, 2021), A night be gone (Gallery Chosun, Seoul, 2019), and a memory without a roof (Künstlerhaus Bethanien, Berlin, 2018), she has also taken part in group exhibitions such as Wrinkle of Memory (Hae Dong Art & Culture Platform, Damyang, 2021).

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