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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 Hyun Nahm

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관리자 2022-12-16 15:56

작가Hyun Nahm
Chain Link Strategy, 2022, Epoxy resin, polyurethane resin, pigment, acrylic, cement, talc, fiberglass, steel, plastic chain, carabiner, polystyrene, Dimension variable.
Void Extruction (Submarine), 2021, Epoxy resin, pigment, acrylic, cement, talc, fiberglass polystyrene, 450×36×32cm. 
 
Famed for its role in the Battle of Red Cliffs in Romance of Three Kingdoms, the “Chain Llink strategy” has become synonymous with “linking” a series of stratagem to achieve a culminating effect. During the Battle of Red Cliffs, Weis Cao Cao attempted to invade Wu with hundreds of thousands of troops across a river. Deceived by Pang Tong, who was actually spying for Weis enemies, Cao Cao employed the “chain link strategy” which literally linked the warships with chains. The chains served to hold the ships together and thereby facilitate the spread of fire when the Wu navy unleashed a volley of flaming arrows and incendiary vessels at Cao Caos invading forces. Despite greatly outnumbering Wus forces, Cao Cao was met a bitter defeat because of his decision to use the chain link strategy. Inspired by the artists interest in the submarine cables that connect the globes communication networks, this work appears to levitate in mid-air as sculptures of various sizes are linked together through chains looped through the holes. While each of the heavy sculptures pulls each other and also relies on each other to keep themselves levitated, one snap in the chain link would put the entire structure at jeopardy. Chain Link Strategy is tied to the rusted anchor of a ship once left neglected in the Pier 1 of Busan Port. The work on the floor is part of the artists Void Extruction series. The irregular lump is piled up and crafted via negative casting. Void Extruction (Submarine) takes the passageways of information as the motif, connecting the drastically narrow and long cylinders through each hole.
 
Hyun Nahm

b.1990, Goyang, South Korea
Lives in Goyang

Hyun Nahms artist methodology involves a miniascape縮景 sequence of reducing and mining landscapes. He draws inspiration from objects such as suiseki stones and bonsai plants that represent examples of vast landscapes being encapsulated within Eastern culture. These he renders in turn as contemporary social phenomena and actually occurring physical backdrops. His solo exhibitions include Burrowing at the Bottom of a Rainbow (Atelier Hermès, Seoul, 2021), My Early Adulthood Pilgrimage Is Wrong, as I Expected (Instant Roof, Seoul, 2021), and Miniascape Theory (ArtSpace Hyeong & Shift, Seoul, 2020). His group exhibitions include OPENING CEREMONY (YPC Space, Seoul, 2022), TwoTu (P21, Whistle, Seoul, 2022), and 3x3 (Audio Visual Pavilion, Seoul, 2018).

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