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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.


HongLee Hyunsook

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BB2024 2024-11-29 10:26

HongLee Hyunsook
Blackout Journey, 2024, performance and installation, 700x1100x500cm space, 30min, participatory performance, 10min, critter performance.
 
HongLee Hyunsook has been exploring solidarity and symbiosis with non-human and marginalised beings. She seeks to decentralise from mainstream human existence through her daily practice and training. Focusing on expanding into the senses other than vision, HongLee examines the sounds that the body can make in various ways, as well as the physical senses of touching, hearing, smelling, and tasting, enhancing them to create leaping momentary experiences and a place of synesthesia that transcends the boundary between human and non-human.
Blackout Journey (2024) is an audience-participatory work that imagines seeking the artist’s damp and smelly refuge at the eastern end of Bukhansan Mountain. Following the non-humans they encounter, the performance participants become walkers, grasping and searching for something in a dark space completely cut off from light. With visual senses blocked and the other senses heightened, the smell, touch, and sound vibrations provide a unique, temporary connection that allows the audience to perceive oneself and the other in a new way. The participants subtly sense their position, situated somewhere among the overlapping space and time, and personally sense the void between particles and waves.
 
 
 
 
 
HongLee Hyunsook
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