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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 Kim Jooyoung

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관리자 2022-12-16 15:58

작가Kim Jooyoung
The Archeology of Pier 1: Wave Becomes Light. Becomes Wind. Becomes the Way. Becomes History., 2022, Mixed media, Dimension variable.
 
Both Kim Jooyoungs life and work are permeated by the themes of departure and of staying. Having experienced the historical tragedy of the division of Korea since childhood, Kim starts by reflecting on her own identity. The nomadic trajectory of her artwork exhibits a consistent pattern of leaving and returning, which spans her career as an artist. The artist picks up objects she finds wherever her feet take her, often by chance, and explores their stories. In this way, her work is an act of laying bare their material. Footsteps in black ink are left on a white cotton cloth to forge a path, and a ritual is held for all the souls lost to obscurity. Kim tries to reflect the history and pain felt by the Korean diaspora divided across national borders. Her work demonstrates the fragmentation of humanity and the preciousness of life in nature. Kims recent work is about a place that is fundamentally connected to departure and return in the Pier 1 of Busan Port. The artwork, entitled, The Archaeology of Pier 1: Wave becomes light. Becomes wind. Becomes the way. Becomes History. contains the archaeology the artist feels toward the specific location of Busans Pier 1. Even in the sweltering fever of our modern industrial civilization, the artwork evokes the ecological origin of the sea. Wood from a demolished temple and cloth, mirrors and other objects used by the artist over a long period of time initiate viewers into the world of the artwork, composed of the four elements: rice, ash, clay and salt. Amongst these, salt represents the waves of the sea, as the artist holds a memorial service for the soul of a dead bird at Pier 1 of Busan Port. Stirring to life the past of a pier battered by waves and war, draped in a clean white cloth, the soul of the bird is called out to and prayed for at this holy ritual site.
 
Kim Jooyoung

b. 1948, Jincheon, South Korea
Lives in Anseong, South Korea

Kim Jooyoung has undertaken a nomadic project that involves traveling the world and recording the artistic environments in situ she experiences through different expressive approaches including painting, performance, and installation. Starting from a place of endless reflection and contemplation of her own identity as experienced as a result of Koreas tragic history of division, her artistic journey has been one of repeated departures and returns. In addition to communicating with the world through her own artistic language, which she picked up off the street, she also publishes books on her own artistic philosophy, which hovers at the boundary between art and the humanities. In addition to presenting performances at Art en Ciel (Cuges-les-Pins, 2021), Asia Now (Paris, 2017), and the 4th Gwangju Biennale (2002), she has held the solo exhibitions Kim Jooyoung (Park Soo Keun Museum, Yanggu, 2022) and The Songhua River Flows: Scars within Recollection (Kunstdoc Gallery, Seoul, 2010), Un Village (Total Museum, Jangheung, 1995), Longitude de la transmigration (Galerie Bernanos, Paris, 1994).

 

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