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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 Hira Nabi

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관리자 2022-12-16 15:38

작가Hira Nabi
All That Perishes at the Edge of Land, 2019, Single-channel video, sound, color, 30min. 33sec.
 
The main protagonist of this film by Hira Nabi is Ocean Master, a huge container ship that was built in 1995 at STX in Jinhae, South Gyeongsang Province, Korea, and then dismantled at the Gadani ship-breaking yards in Pakistan, one of the largest ship-breaking yards in the world. In the film, the anthropomorphized ship converses with workers at the ship-breaking yard, discussing everything from dreams and desires to the structural violence embedded in the act of dismantling a ship. Utilizing long takes and slow camera movements, the film connects post-industrialization of the northern hemisphere with the hardships experienced by workers in the southern hemisphere. At the Gadani ship-breaking yards, for example, the predominantly migrant workers labor in dangerous conditions, sorting waste and recyclables for extremely low wages. In addition, the ship-breaking process has done irreparable damage to the surrounding environment and the local fishing industry. By revealing the ultimate outcome for the industrial network related to the sea, the film forces us to contemplate what else might be disappearing along with the ships that have come to the end of the line.
 
Hira Nabi

b. 1987 in Lahore, Pakistan
Currently based in Maastricht, Netherlands

Visual artist and filmmaker Hira Nabi uses everyday stories to bear witness to and connect the contemporary era in which we live. She attempts to transcend anthropocentric thinking and return to nature, using things that are slow-paced or invisible as lenses for exploring the environment and ecology, globalization, colonialism, dreams and reality, and other ongoing phenomena. Through elements that contrast with the harshness of realitylyrical images, poetic texts, memories and nostalgia, everyday ritualsshe creates multilayered work that breaks down the boundaries between documentary and narrative. Her major group exhibitions and international events include the 12th Sonsbeek Quadrennial (Arnhem, 2021), the 11th Göteborg International Biennial (2021), the film programme The Refracted Body as a part of the Liverpool Biennial 2021, The Stonebreakers (Warehouse421, Abu Dhabi, 2020), and A Ship Will Not Come (Johann Jacobs Museum, Zürich, 2020).

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