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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 Megan Cope

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관리자 2022-12-16 15:59

작가Megan Cope
Kinyingarra Guwinyanba (Off Country), 2022, Timber, steel, oysters, Dimension variable.
Documentation of Kinyingarra Guwinyanba, 2022, Single-channel video, color, 8min. 12sec.
 
Since 2016, Megan Cope has been creating artworks based on shell middens, which are sites where people of the past disposed of domestic waste, such as clam shells, oyster shells, and animal bones. In addition to their great significance in archaeological research, shell middens also prove the sovereignty of the indigenous peoples of Australia. Starting from the colonial period, however, these precious sites were often destroyed to produce mortar and limestone for construction. Notably, oysters were a staple food for Copes ancestors, the people of Quandamooka, who cultivated sustainable amounts of oysters through traditional methods. Around 1820, due to increasing demand, oysters began to be mass-harvested at large industrial oyster farms, causing various social and environmental problems. In her installation Kinyingarra Guwinyanba (Off Country), accompanied by two documentary videos, the artist presents a ring of wooden poles with attached clusters of oyster shells tied with string, the likes of which were used in traditional oyster farming by the Quandamooka people. Hoping to nurture an environment in which oysters can grow and multiply, the artist has planted many such poles in tidal flats along the coast of Australia. Notably, all of the oyster shells for this installation were obtained from Jinhae, South Gyeongsang Province, the province that accounts for 85% of oyster farming in Korea. In the past, Koreans also used this same technique to cultivate oysters, although a hanging method is now more common. The installation and videos remind us of cultural traditions of both Australia and Korea, while promoting eco-friendly ways of life.
 
Megan Cope

b.1982, Brisbane, Australia
Lives in Brisbane

An Australian Aboriginal artist of the Quandamooka Nation in the islands of South East Queensland, Megan Cope explores identity and contemporary environmental issues through works of site-specific sculpture, installation, video, and painting. Resisting the colonial concept of the Aborigine, her work uses mapping practices and language to illustrate geographical locations that belong to her people, and the effects that colonisation has had on the lands, waters and and people over Australias long history. Her solo exhibitions include Low Pressure (Milani Gallery, Brisbane, 2022) and Fractures & Frequencies (UNSW Galleries, Sydney, 2021), and she has taken part in numerous international events and group exhibitions, including Réclamer La Terre (Palais de Tokyo, Paris, 2022), Connecting the World through Sculpture (Monash Museum of Art, Melbourne, 2021) and the 7th TarraWarra Biennial (2021).

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