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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.


2018 HEXEN 2.0

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관리자 2018-08-21 11:58

작가Suzanne Treister

HEXEN 2.0/Historical Diagrams/From MK ULTRA via the Counterculture to Technogaianism, Giclée print, Dimensions variable, 2009-2011  
HEXEN 2.0/Historical Diagrams/From ARPANET to DARWARS via the Internet, Giclée print, Dimensions variable, 2009-2011
HEXEN 2.0/Historical Diagrams/From National Socialism via Cybernetics and the Macy Conferences to Neo-Totalitarianism, Archival giclée print on Hahnemuhle paper, Dimensions variable, 2009-2011
HEXEN 2.0/Tarot, Ptinted card, 78 cards, 9 x 15 cm each, 2009-11

Suzanne TREISTER
HEXEN 2.0/Historical Diagrams/From MK ULTRA via the Counterculture to Technogaianism
HEXEN 2.0/Historical Diagrams/From ARPANET to DARWARS via the Internet
HEXEN 2.0/Historical Diagrams/From National Socialism via Cybernetics and the Macy Conferences to Neo-Totalitarianism
HEXEN 2.0/Tarot

This sense of absurdity likewise undergirds the print works presented in the Busan Biennale, which belong to Treister’s ongoing series entitled “HEXEN” (German for “witches”). This body of work has spanned Tarot cards implicating notorious contemporary figures in antediluvian and spurious cosmologies, dense conspiracy theory mind-maps that find linkages between Hollywood the military industrial complex and cults, and quasidocumentary films, which extrapolate these concerns. The pieces shown in Busan—which span 2006–11—have been reproduced as Giclee prints, in which American counter-culture folk heroes are linked (amongst other things) with the emergence of “technogaianism” through intoxicating patterns of diagrammatic depiction, organic drawing, and writing.

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