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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.


2018 TRANSmutation

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관리자 2018-08-21 11:58

작가NNomeda & Gediminas URBONAS

TRANSmutation, Multiple channel synchronised video installation, HDPE pipes, 2018, Courtesy of artists, Commissioned by Busan Biennale 2018

Nomeda & Gediminas URBONAS
TRANSmutation

For Busan, Urbonas resume a socio-psychological methodology, initiated in their 2002 work Transaction, an elliptical meditation on gender construction through media, and the relationship of those constructions to national identity and its colonial projection. Picking up this tangled theme, Urbonas’ installation for Busan, entitled TRANSmutation (2018) is envisioned as an apparatus and media device that projects the landscape of a double agent psyche from pseudoscientific efforts of mind control to programming of the planet. Conceived as a multilayered, associative and visual narrative, the installation is collaged from a series of Soviet cult films fragments with Baltic men performing spies and foreigners; this includes images of classified research on technology that supports plant growth in zero gravity space (entangled with their Homo Effluvien project, a Soviet/American experiment in human-algae symbiosis.) It is a type of Pharmakon of double agency that is performed on video monitors installed within a retro-futuristic, cave-like structure. The work’s psychoanalytical aspect takes the form of the sculptural cave, which might suggest a metaphor for psychological interiority manifest through architecture—in other words, a public psychology more expansive than the individual mind.

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