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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.


Chang Wen-Hsuan and Writing FACTory X RRD

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BB2024 2024-11-28 17:47

Chang Wen-Hsuan and Writing FACTory X RRD
Chang Wen-Hsuan questions the narrative structure of institutionalised history by re-reading, re-writing, and suggesting fictional alternatives to expose the power tensions embedded in historical narratives. Through versatile platforms, she navigates skewed documentations and first-person accounts to trigger reflections on how the understanding of history affects the meaning of the present and the direction of the future. Initiated by Chang Wen-Hsuan in 2018, Writing FACTory is a long-term project, a non-site space, and a virtual factory, which serves as a repository of experiences and discourses, incubating writing and publishing as artistic and political practices. Since 2018, it has collaborated with RRD (Red de Reproducción and Distribución) on the Pacific Pirates project. RRD is an independent project initiated in 2016 by five artists from Mexico City: Anuar Portugal, Joel Castro, Sergio Torres, Laura Muciño, and Bruno Ruiz. Producing and distributing printed and audiovisual content, as well as multidisciplinary site-specific projects in their kiosk and studio in Mexico City, RRD ultimately proposes alternative modes of information dissemination and encourages the distribution of counter-information to a diverse community.
  
  
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