Design concept related to the theme of Busan Biennale 2016; Hybridizing Earth, Discussing Multitude, is derived from ‘annual ring’ found on stem or root of trees. Annual ring has different shape depending on rate of growth, but eventually has one line in common like cultural development. Various cultures are developed on different geographical, historical, and political circumstances, but simultaneously grew on a sight of ‘mankind’ through the E.I.
Hybridizing Earth, Discussing Multitude
The digital technology that transcends time and space and makes networking possible has tied the earth into a single community, integrating the world into a single market. Within an app installed on our smartphones, 10 billion people around the world transcend their religious, ethnical and national boundaries and are networked together. Humanity is currently living in a ‘generation of multitude’ that no other generation has ever experienced.
The biennale gathering artists and scholars of diverse religions, ethnicities and nationalities to discuss the issues of humanity’s past, present and future would be the most suitable form of exhibition for this generation of multitude. Unlike literature, film and other cultural domains, this is a unique stage that can only be offered through the art genre and the biennale platform. The Busan Biennale’s theme of ‘Hybridizing Earth, Discussing Multitude’ is well aligned to this concept. The ‘affluent but impoverished’ world resulting from hybridization of tradition and modern; human and nature; East and West; analog and digital; capital and technology; is what a hybridizing earth is. It is a place that must never be reduced to capital and technology, and a place where mankind confronting reality begins their resistance and escape.
‘Hybridizing Earth, Discussing Multitude’ is a place of discussing possibilities. It is an inconvenient and distressing place that reflects on inefficiencies of the market and human irrationality, and on art’s vulnerability to the market and its system. Like Walter Benjamin’s melancholy, perhaps a document of civilization is a document of barbarism at the same time. I hope this Busan Biennale will be the same.
Lida Abdul is famous for her works related to Afghanistan, her country of origin. The landscape that mesmerized her in the land that suffered 35 years of war was traces of ruins. Her work
Ethnic and Race braided long hairs and coiled and entwined. Oh how it made and made , ate, ate in shade, slumbered and soiled her reflection to see this faked- nations make me small sweet cakes.
The work of Rina Banerjee features scattered people, bodies that populate and pollinate land, sea, and air. The artist mainly engages in handicraft such as binding, wiring, stitching and attaching. She immerses herself in connecting parts or materials that have become fragmented and non-compatible because they didn’t really speak to each other. She continues to venture into aesthetic exploration in order to rediscover new and diverse beauty by connecting impulsively selected bits of things she collected from before.
Aya BEN RON
Aya Ben Ron expands the unconscious memory of an ill body, perception of death and morality, and pain in a socio-historical context as much as possible. All of her works are based on the experience Ben Ron has accumulated over the years by thoroughly studying medical manuals and sketches, diseases and medical treatment. Ben Ron transcends the categorical boundaries of the two disciplines. Despite the obvious presence of death and pain in her work, no sentimental intervention or no glamorization of death and illness can be found. Aya Ben Ron keeps an emotional distance and uses a grim sense of humor to explore medical procedures in a socio-historical context as much as possible.
Renaissance, all creation, modernization were favorite words used publically and as political slogans during the 70’s and 80’s in Korea. These words once loved by the whole nation have now become a rare sight one can only find on signboards in the countryside. From ‘Renaissance Store’ that doesn’t seem to be able to revive, ‘All Creation Store’ which doesn’t seem to be big enough to offer all kinds of creations, to ‘Modernization Store’ which doesn’t seem modern at all, keywords of the desire of the time could be perceived. Intense desire for abundance of an era accompanied by poverty, decline and absence connect to the present like a shadow of irony and irrationality. Cho Hyeongseob elaborates on the values and ideals we have lost in the pieces of our memory or on their boundaries.
Long may you run
Artist Choi Sungrok is engaged in transforming contemporary social, cultural, historical landscape and incidents into an epic by using digital technologies and new media. His work
Kiri Dalena who deals with Philippine’s sociopolitical issues is an artist and a social activist. The title of her work
In 2016, the farmers of Province of Cotavato located in the northern Philippines confronted extreme draught due to El Nino. More than 6,000 farmers formed a human barricade across the highway in order to ask for rice aid. The government of the Philippines sent armed police to dissolve them by compulsion using water cannons and bayonets. A farmer was killed and scores were injured in the forceful dispersal.
The number 635 in
Folkert DE JONG
Business As Usual: “The Tower”
Folkert de Jong is best known for his expressive sculptures and installations arising from a strong fascination with the psychological and the bodily human condition. De Jong is interested in reexamining cultural symbols and historical figures, and the potential for sculpture to transform existing narratives. In particular, De Jong’s signature style is formed by his idiosyncratic use of insulation materials such as candy-colored polyurethane and Styrofoam – a choice that was not simply an anti-hierarchical gesture. These materials are pollutant, and their effects on the environment radically detrimental. The works that are shown at Busan Biennale 2016 are based around the idea of Charles Darwin’s The Descent of Man (published in 1870) and The Myth of Sisyphus by Albert Camus. The remarkable
Fang Lijun is one of the most influential artists in contemporary Chinese art. The ‘bald’ figure in his paintings has become the most classic symbol of contemporary Chinese art, and his work style has been defined as falling under the category of cynical realism. Cynical realism was a resistance against the culture during those times. Thus, expressions that sought to break away from heavy and serious themes as well as precipitous screens were dominant. <2014-2015>(2015) is an 8 meters wide painting, and it is one of Fang Lijun’s recent major works. The numerous, big babies in the painting have their backs to the audience and face the huge sun. The strong light the sun gives out seems like massive energy emitted by an atomic nucleus. Babies in the painting stare vacantly at the scene silently. Such intense yet tranquil irony is the most gripping of parts in Fang Lijun’s recent works. In the recent years, his works display a trend of the screen getting bigger and bigger. Moreover, whereas his past works were mainly about bald figures, more and more baby figures are featured in his recent works. This could be closely related to him getting a daughter in 2005. The birth of his daughter must have been a significant change to Fang Lijun in which his life turned into that of a father, and that unconsciously melted into his personal life, unwittingly influencing his work style.
Untangling the tides
Zoro Feigl’s work is composed of movements and various traces left by such movements. His work is a potent yet elegant installation created by the combination of kinetic energy delivered to ropes and repeating patterns. In
Ibelisse GUARDIA FERRAGUTTI
‘There is no sound without movement, no image without sound. These three elements are necessary accomplices that are hopelessly intertwined. ’Ibelisse’s performance
HONG Wonseok chauffeur service project-JOYOUS EXPERIENCE, SOCAR
And Everything Around Us is Beautiful
Multimedia artist ErdalInci experiments on cloned movements through his video work. The artist creates hypnotic video or GIF files of himself moving through public spaces carrying lights or other objects at times. Inci appears to be no more than a shadow, or completely disappears depending on his exposure to light, creating an even more mysterious and dreamy video. Inci focused on the fact that if he keeps on cloning the recorded performance, the video will move perpetually. All the time phases of the same movements can be seen in brief moments such as 1 or 2 seconds. Inci thought this could give the viewer a chance to think like a choreographer who directs a large group of people or a painter who can fill a frame not with forms or colors but with motions. ErdalInci was inspired by the patterns used in traditional arts and crafts, dance and repetition. His work can be described as a summary of movement, performance, and actual environments.
Jang Jaerok was mesmerized by gigantic artificial structures and delicate mechanical devices. Therefore, his oriental paintings are drawn like a floor plan, using markings on a ruler, as if all the distances were measured mechanically. They are far from cheerful or vivid paintings dashed off with a stroke of a brush. The world we live in is full of machines and artificial structures. The artist does not just paint smoothly finished external appearance of a machine. The machines or structures in his work seem like a bizarre and terrifying anatomical chart.
Hermit from the Planet Ⅱ
The northeast region of China is the heart of China’s heavy industry as well as a place where numerous historical events took place in China’s modern history. The northeast and the northern region have brought about China’s rapid economic growth earlier, but they suffered economic decline since the 80’s through the 90’s. As a result, the majority of heavy industry factories went bankrupt or closed down, leaving hundreds and thousands of factory workers change or quit their job. In a blink of an eye, absolute egalitarianism under planned economy of the past is transformed into performance-based market economy. The misfortune and desolation including the factory workers the society experienced became scars and pains of the times. The most salient part in the work of Jia Aili who thoroughly observed that particular time period, is the scene ‘in ruins’. In order to give the feeling of things being ‘in ruins’, Jia Aili paints machines and people dim and blurry in his work. This enables the viewers to imagine and feel the chaotic environment and the solitude of an individual. The lives of the people manifested in his paintings all carry a feeling of helplessness of the times, and humans are only left as weak and weary beings against the gigantic screen. His works make us reflect on our past and talk of a sad future in which we are forced to come to grips with reality. Despite the fact that the stage of Jia Aili’s new work
Balloon Hit NO.1
Artist Jin Yangping enjoys the disillusionment and disgust left of modernism and socialism, and openly creates ‘B-class paintings’. ‘B-class paintings’ describes the tendency of openly distorting and overthrowing mainstream values and forms in order to attack the universal weaknesses the spirit of humanity has and the fundamental vulnerability of contemporary human existence. As if Deconstructivism denounces the oppressive nature of Stalinism as well as deconstructs metadiscourse of Neoliberalism, the artist attacks both the form and the content of Chinese art of the times. Jin Yangping mocks creativity and originality, and does not pursue completion of works. His work is expressed in a discontinuous, random and fragmented manner. The works of Jin Yangping are ‘anti periodical philosophy’, and that is the way a ‘B-class artist’ paints.
between desire and universe
Kim Hak-J poses a question ‘has swarm intelligence of the world truly gained sympathy and moving in the right direction?’ Humanity leaves traces of its vulnerability at each period in history so that it is not an exaggeration to describe history of humanity the ‘history of desire’. The forms best values represented by swarm intelligence of today adopt can be defined as technology that are rapidly developing and our ensuing presence in space. The artist seeks to express consolidation of the world’s intelligence for the obtainment of such values and the dark shadow of desire hidden behind conflicts. A fake satellite is installed on the floor and the wall like a tomb, and photographs attached to the wings of the satellite present iconic codes for ‘schizophrenic phenomena’ and ‘desire’ which are premised on the free flow of monetary capital of the ‘capitalistic machine’, the only society that is premised on decoded flow as proposed by Gilles Deleuze and Felix Guattari. Images of a robot taking a lonesome walk in vast space and a human are projected on the surface of the wall to create an atmosphere that is ‘implied’ on the whole. Pop music pioneer David Bowie’s ‘Space oddity’ which is about communicating with an alien and 10 CC’s ‘I’m not in love’are cross cut and played.
The Valley of Darkness
Kwon Sunkwan displays a scene related to our modern history with his work
The scene selected from a great number of possibilities, the obscure photograph, speaks of the important historical event covered in hazy fog without any measures being taken. Certainly, plain fact is captured in the scene, but by not opening it up and by showing something that cannot be seen, the artist leaves the dark black curtain up to the audience to lift by themselves.
Lee Seahyun’s scarlet landscapes have a very strong visual impact, almost as if inducing hallucinations. The works are unnatural and unrealistic. However, push through the dreamy fantasy, take a closer look at them, and you’ll encounter rather familiar and very real landscapes. Nature that surrounds us, buildings, towns and events have fully occupied the paintings. His works are realistic and beautiful, yet somewhat sorrowful. This is because a single painting contains the four phases of life and all sorts of emotions humans and nature have. He reveals the violent perspective inherent in humans without any moderations, bluntly shows the wounds of history inscribed in nature, and displays a new way of reasoning about the East and the West, humans and nature. His works embrace the wounds of both humans and nature.
Development of modern science and technology brought about exchanges between cultures and changes of perception. In particular, the use of media by humans has enabled the realization of a new form of art in which politics, culture, and technology is combined. Moreover, from the perspective of post-modernism, media is much more continuous and revolutionary than any Avant-garde. This century of technological revolution set off from videos has not only led to the reproduction of virtual reality and highly advanced digital technologies but also virtual sculpting today. New digital media has enabled people around the world to move freely across time and space of the past, present and the future. It has brought about changes in visual perception and paradigm.
Media, which reenacts hybridization with the inflow of various cultural elements due to the development of capitalism and globalization, was made through interactions between various factors such as culture, history, social phenomenon, characteristics of media and messages. Hybridizing media created a new ideology through carriers of media such as race, language, sign, image, and culture. Lee Leenam seeks to examine how the media is dealing with hybridizing earth, or today’s reality which is represented by hybridizing earth. Put on the VR and you will find yourself in a virtual space filled with Chinese characters in 3D. This is visualization of human cognitive system influenced by the mixture of various media such as letters and films. The way the images of Chinese characters, which have a long-standing history as ‘letters’, disappear as a data, a pixel in a digital space call into question the essence and value of a subject.
Li Ming has been continuing studies that pierce the core of the relationship between individuals and society through performance and video works. The artist himself is featured in the three works presented in this exhibition, and his body becomes a good practical parameter that represents the artist’s thoughts. In the video work with limited time, the artist endlessly continues repetitive movements using his body, and this continues until he is completely burnt out physically and psychologically. His ‘obsession’ implied in his works are very appealing. <361>(2014-2016) is a film about breaking 361 disposable lighters. For this performance, Li Ming thoroughly studied literature on disposable lighters and documentary film production. The artist has been carrying out studies on self-reflection, on how an entire community works even in the absence of certain personal goals and the dismay caused by social identity.
Laura Lima put forth a body of work that she herself calls ‘images’. Lima’s ‘images’ are not performance, not installation, not cinema. The ‘images’ the artist uses are conceptualized works of an accumulation of visual clarity and factual firmness. Among the works that symbolize such rigorously conceptual projects,
This is the first time for her work
The Centre of the World
Through his works, Liu Xinyi displays his deep interest in international culture clashes and solutions for them. His
Artist Xavier Lucchesi made attempts at expressing images without using a camera. In order to do so, Lucchesi used equipment other than cameras that can create totally different images. He used x-ray equipment and scanners to produce images. His images do not follow the most common way of image creation, but are formed by making rays pass through objects. X-ray beams directed at the surface of the area behind an object remove the shadow of the real object. This is the shadow, the ‘illusion’ that we can see. A ray passing through an object does not merely mean a movement from the end of one side to the other. The fact that a ray passes through an object means the presence of the object is clearly known, and this is like an observer staring straight into the eyes of a person and seeing through his soul. When Lucchesi makes use of masterpieces such as Picasso’s paintings for his work, he tries not to reveal the hidden side of the work but only expresses visually dramatic scenes. Moreover, he focuses on the fact that there is a point of convergence where the brain’s power meets the brain’s ability to simulate and draw what has not been revealed or seen yet.
Avanda & Nhlanhla Moremi’s wedding
While many countries in Africa enacted homophobic legislations and expressed bigotry toward Western homosexuals, Republic of South Africa set itself apart from them by enacting a legislation that recognizes same-sex marriages. Still, LGBT African Americans (sexual minority including Lesbians, Gays, Bisexuals, Transgender, Intersexual) are suffering from hate crimes. Black lesbians who are particularly vulnerable among them oftentimes become the victim of cold-blooded murder or suffer ‘rape under the pretext of treatment’ by people around them or their so-called ‘friends’. In 2013, Muholi recorded events which seem to connect happiness and sorrow, a wedding ceremony and a funeral of people in black LGBT community in Republic of South Africa. The photograph installation of ZaneleMuholi shows how a sad event and a happy event can share similarities. This work emphasizes the need of space for an individual’s expression of identity.
Hidden memories-herb 1, 2
The main topic of
OLTA is a group formed in 2009 by 6 Japanese artists who majored Painting at Tama Art University. Our daily life is swarming with massive amounts of information such as videos transmitted by the media. OLTA compares such experiences with digital media to a waterfall in
Bejing Opera Self Hybridization n°6
ORLAN uses her own body as the material and a visual support for her works. She uses her own body as an area for debate and exhibition. She is the progenitor of body art and a major figure in ‘carnal art’ defined in the 1989 Statement. ORLAN’s tenacity and freeness are essential parts of her works. She adheres to the attitude of innovating, questioning, and being destructive in all of her works. ORLAN destroys the ‘ready-made’ thought process and customs by ceaselessly implementing fundamental changes to data. She opposes the dominant kind such as social, political and natural determinism, male chauvinism, religion, cultural division, and racial discrimination. ORLAN not only describes the female body of the Baroque period and religious iconography, but also explores the culture of India and China before Columbus discovered the Americas. At the same time, she looks into their physical, emotional and virtual reality using the most modern science, biology, and computer technologies. In her recent series work
Strategies of Success / Curator Series
Tanja Ostojic is a practical artist who conducts multifaceted studies and poses questions on issues the European society and the art world face by using various media such as performance, video, and photographs.
PAK Sheung Chuen
A Travel without Visual Experience (#3)
(2008) sets off from Pak Sheung Chuen’s 5 days 4 nights travel to Malaysia. He either closed or covered up his eyes for the entire journey. During the trip, he was still doing all the sightseeing and took many photos, but instead of seeing, he only used his body to sense and experience surroundings. All images, along with photography and videos from other members of the tour group, became the sole reference of indirect memories and visual experience for Malaysia. The photos must be showed in a completely darkened room. Viewers are required to bring their own flash cameras in order to capture images inside the room.
The yardstick by which an individual’s values are defined can be classified by social standards. In other words, conflicts arise when such values are accepted by external influences, or get frustrated. However, individuals’ desires are restrained at least to a certain extent as they are regulated by social standards. Thus, the forms of each individual desire may differ, but psychological anxiety caused by such social pressures is inherent in every relationship, and such anxiety connects one individual to the other in a complicated manner. This is expressed in the form of continuing violence in the modern society. I recognize such violence as a problem related to relationships and its interactivity, and tries to lay them out in the form of an artwork. Contemplation on relationships is closely related to not some gigantic existence but love, romantic relationship, jealousy, compassion, and those closest to an individual’s daily life. The closest relationship is a space dominated by much more customs, myths, and formalities than any other relationships. That space may seem like a venue created by an encounter between two individuals, but in fact it is a complicated venue in which numerous concepts and desires collide, exchange, and compromise, and a venue in which basic conflicts lay dormant. The artist captures unilateral obsession, desires hidden behind close relationships, and violence lying beneath the surface present in relationships by combining personal experiences and real life incidents with symbolic objects, stories or fairy tales. She produces an immensely realistic yet unrealistic video by creating aggressive situations in which not only affection and conflicts in relationships, but also the hidden ironies, conflicts and anxiety of forming relationships with societies intersect at a junction in which horizontal time and vertical time crosses each other.
God Pound Busan
Diminutive god statues became especially popular during a gambling craze in Taiwan in the 1980s. After failing to successfully divine a winning number, many of these were abused and abandoned at recycling centers, much like how dogs are sent to pounds when unable to fulfill their owners’ inflated and unrealistic expectations. Thus, in what seems a rather extraordinary instance of reversal, humankind took the liberty to punish the gods, seemingly without fear of retribution. Moreover, these gods were conveniently embodied in an easily manipulatable size. For the installation
Good Genes – Hygiene
The artist uses medical models to perform various moves with the help of her friends. The moves which resemble a religious ceremony are performed on a stage like a fascinating magic show. This video is part of a long-term project made to answer a question on the concept of a nation-state Pushpamala N. posed. In the video, she looks into a government’s project aimed at creating an ideal community through the history of anthropology, ethnology and eugenics. In her work, she performs the moves by herself and carries out the role of a ‘result’ as well as an ‘agent’ of history who positions herself at the center of exploration.
My father never touched me like that
Joanna Rajkowska’s video work
The Moon is Asleep
Robin Rhode typically uses common materials such as soap, charcoal, chalk, and watercolors to express an epic of beautiful life in performance, drawing, and video. The artist who expresses broad interests in social and political issues in his own way mainly bases his works on streets and enhances complex aesthetics to create beautiful wall drawings. His
Shen Shaomin is an artist of China who works in conceptual art and installation art. His works are mostly related to studies and reflection on some of the problems that exist in the history of art. At the same time, he constantly reveals and criticizes problems in the modern society like ‘Opinion leader’. His recent work
LOOKING AT THE SUN AT MIDNIGHT (RED)
KATHARINA SIEVERDING ’s work shows the sun shining bright in the darkness of the night from the earth. From sunset to sunrise, the sun is indeed full of different colors. KATHARINA SIEVERDING focuses on the interconnections between living things and the universe. The artist received visual information from the Solar Dynamics Observatory launched by NASA in 2010 and transformed it into a work of art. Through this work, she connects the various facets of science and bio-politics with sacred human existence.
Installation with Sand, Chairs, Buckets and Water
The artistic events that Roman Signer constructs for us are based on process, play, experiment and wonder. His materials are elemental physical phenomena-observations all the more astonishing in view of the humor that informs this artist’s oeuvre. These elements show that amazing world of humor. It is an extremely subtle brand of humor yet to be discovered by the art world. The serenity, clarity, and lightness of Signer’s actions impress us. They are devoid of the tautological leadenness of certain art in the seventies that agonized righteously in an attempt to demonstrate that water flows and a chair is a chair. Signer’s gestures are not heroic, although, appearing as a dramaturge of suspense, he causes an explosive release, even a psychosensual detonation. He does not fill the expected role of the ingenious, individualist artist but he draws attention to an object by discovering and releasing its startling, unsuspected potential. We know about the possibilities of ordinary spray cans and rubber boots and bicycles and kitchen chairs, but we also learn how limited are both the horizon of our knowledge and our relationship to the things of this world.
No dust, No stain
The three performance works of Shinique Smith are mainly about gestures, objects and conceptual inspiration. Her works were influenced by astrology, alchemy, mythical lyric poetry and movements of urban intersections. Created in collaboration with artist Gary Pennock,
Sohn Junghee focuses on realizing the dreams hidden deeply within her through the use of clay. As Pablo Picasso once said ‘Everything you can imagine is real’, the imaginary world she expresses becomes real the moment she makes and bakes clay by hand. The theme of Sohn Junghee’s works came from her daily life. Reading fairy tales like the Snow White to little children, distorting and satirizing happy endings have become the concept of her works, and as time passed by, she looked for various sources for her works from across all the ages and countries. Such stories were transformed through the interruption of the artist’s imagination, and they work as an allegory of distortion or satire and criticism in social phenomena. The common sentiments that lie in all of Sohn Junghee’s works are sympathy, humor, longing (resentment), and soaring. Deep love and affection for humans are conveyed in her works.
Already Peacefully Existing Here as Always.
Looking at the dead bodies of children washed to the shore, I feel in my bones that we are living in a free but not an entirely free world. Those that can freely move across territorial barriers are non-living things. Such barriers exist like invisible ghosts between territories, territory and life, and lives. They separate us endlessly and disable us in confronting the real hostilities. This separation is not the same as Apartheid, the notorious racial segregation of Republic of South Africa in the past.
Studio CONTEXT began in Aarhus School of Architecture in Denmark, and it exhibits the results of a combination of the devotion and technologies put in by students, architects and citizens from various countries around the world. Studio CONTEXT studies sustainable architecture and housing which reflect geographical, historical, anthropological and social phenomena. It also explores designs in which diverse cultural elements are mixed together. In Busan Biennale 2016 Studio CONTEXT displays
Point of Contact #2
“Point of Contact #2”, simply but, is an open, exaggerated switch. It is a device that is designed only to deliver the power from the electricity to light the lamp. The contact point creates a pale spark, incandescent lamps in conjunction with it blink, and it becomes physical proof that there is electrical “contact”. The incandescent lamps are only working for the contact that sparks, and the contact that sparks is only to turn on the incandescent lamps. The point of the work is this extremely immediate physical existence, which just goes around and around. Tamura Satoru shows us how to face up to the reality in a conscious or perhaps unconscious manner.
Not everything in the society we live in exists to become something. It is only us, humans, who try hard to find reason to everything and crave them. Humans living in a capitalist society indiscriminately destroy nature in the name of development and growth, shut each other out and create conflicts based on a blind faith that does not recognize differences in race, religion, and society. These are all variations of human desires. The artist does not establish a goal or try to argue something when making a work of art. Nevertheless, his work enables us to reset the lenses through which we view the reality and society as well as reflect on ways of life that exist beyond worldly suffering.
The beginning of time
Nobuko Tsuchiya stimulates the emotions of people, strives to create something that can arouse awareness on an individual’s own world, and tries to clearly recognize the relationship between memories and imaginations. Her works are accumulations of decisions made by using a variety of thoughts and linguistic, musical, logical, functional, sensual, and empirical things or even something that cannot be defined. Through this work, the artist tries to compress the components of her works to the highest extent possible so that they reach a certain point between equilibrium and disequilibrium.
Old Spice, Lang Version
I climb up a wide and huge house. Right there, a grey wolf with a face of a man makes his way forward and eats people up one after another. It sucks their blood.
The roof becomes visible as I climb up the huge house, and in front I see a huge ship made of wood. As I look, the ship starts shaking back and forth like a pirate ship in an amusement park. Shuuuk, shuuuk.
Before I know it, I am sitting at the right end of the ship looking down. I climb down from the huge house and start walking along the street.
Then, I get up.
the exhibition of the space
Yu Sunghoon consider using a space built as a warehouse in Busan for the main exhibition hall for Busan Biennale 2016 quite meaningful in the geological history of Busan as it was transformed into an urban space today due to its special historical backgroud. For 5 months the process of the change at certain place had been recorded for
When a small fingerprint meets a smartphone, everything unfolds before the eyes. They are worlds visible through the eyes and visible in the mind. All kinds of floating words and texts trapped in a small frame have universal power in them but they get easily permeated, tainted and fade away. Just as yellow dust covers the world with dust, the world is full of texts and images. While we pay attention to the light, sound, taste and touch from the outside, our daily lives are shattered into pieces and blinks like a broken lamp. At some point, manual labor which requires movement of the body as well as time and effort is losing its precious value. Labor today is something that has become very exhausting, delayed in the interference of a terminal, and is finally left unfinished. The body becomes a heavy weight in the awakening of the mind, and the spirit becomes noise in inertia of the body. Nevertheless, the artist argues that the power that actually moves and restores the world comes from manual labor. Yun Pilnam aspires to state that we should seek the flow of daily lives that does not pool from manual labor which never stops moving.
Everything is Gonna Be
Katarina Zdjelar’s video
June 20th, 2002
Zeng Hao captures an individual’s state of mind, personal impression and ambient changes he felt in the canvas. Common items such as bed, closet, pot, and images of shy characters can be found in his paintings. In particular, <04:06am of May. 9th, 1998>(1998) is one of the series of his major works, and it enables the viewers to imagine stories behind the work through the arrangement of various props such as characters, family, and electricity in a seemingly irrelevant combination. The pictures of families or spaces drawn by Zeng Hao connote the feeling of ambiguous isolation that is difficult to guess, and although they look perfect, they evoke the feeling of bleakness as they are drawn in perspective. It seems the artist is using his work as a metaphor for the vulnerable nature of relationships and demarcated realities of today’s modern society.
Zhou Wendou uses conceptual style of creation and humorous language of art to express a perspective that is somewhat different from other contemporary Chinese works.
Busan Biennale 2016
Busan Biennale is a comprehensive art festival that integrated three different festival that had been held in the city: Busan Youth Biennale, Busan Sea Festival, and Busan Outdoor Sculpture Symposium.
With a long history of serving as an art stronghold in Asian, Busan is a perfect place to host an art festival for the region and beyond. The biennale art event was inteded to present an easy interpretation of the hard-to-understand contemporary art and make it more accessible to the general public.
The festival serves as an arena where locals can mingle with people from other countries and communicate with each other.
Busan Biennale will be entrenched as representative culture event fo Korea and, ultimately, achieve a worldwide recognition.