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 Eoghan Ryan
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관리자 2022-12-16 15:36
Doggerel, 2022, Three-channel video, 13min. 57sec.
Eoghan Ryan’s work critically depicts contemporary western society and its socio- political theaters, creating fables out of public spaces and personal traumas, language and nonsense, power and anarchy. Both the form and content of this installation re- animate vestiges of Oskar Matzerath, the protagonist from Gunter Grass’s novel Die Blechtrommel (The Tin Drum). In the novel, Oskar, possesses both human and divine qualities, deciding at the age of three not to grow any further. Equipped with his tin drum, Oscar observes and protests political, religious and sexual taboos during the Nazi occupation of Gdansk. In Doggerel, which takes its name from a middle english term used to describe comic, badly written verse, Ryan links the conditions in Europe during the first half of the twentieth century, as seen through Oskar’s eyes, with the current situation in the early twenty-first century. This being one of contested migration and border enforcement both personal and political. Oskar stands by his own grave, composing irregular rhyming verse and playing his drum, as the edit cuts between images of a ‘miniature Europe’ and the conflicts that borders create. Rhythmically paralleling the nationalist tragedies of the past with those of today.
b. 1987, Dublin, Ireland
Lives and works between Brussels and Amsterdam.
Eoghan Ryan works with moving images, installation, performance, puppetry and drawing. The work looks at collective and personal trauma, power and anarchy, voluntary and involuntary behavior, acting and reacting. Ryan’s process involves careful and tactile editing, spending durational amounts of time documenting his own relationships with a specific person, place, object, or song. He often deliberately limits his field of reference to an ongoing archive of images collated from newspaper clippings. He is currently involved in dismantling states of a ‘European’ identity. These range from nation-states and states of being to the cultivation of provisional culture, in art as much as bacteria. In addition to solo exhibitions such as Cut it off at the trunk (Rowing, London, 2017) and Oh wicked flesh! (South London Gallery, London, 2013), he has taken part in numerous group exhibitions including Contamination (Kunstverein Freiburg, Freiburg, 2021) and As Above, So Below: Portals, Visions, Spirits & Mystics (Irish Museum of Modern Art, Dublin, 2017).