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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.


Han Mengyun

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관리자 2024-11-29 10:35

Han Mengyun
Night Sutra, 2024, multimedia installation; 3-channel 4K digital video, colour and B&W, stereo sound, 46 minutes 13 seconds; aluminium sculptures, dong fabric, stainless steel benches, dimension variable.
 
Night Sutra (शर्वरीसूत्र, Śarvarīsūtra, 2024) is the artist’s first feature length 3-channel video embedded in a Dong textile installation alluding to the form of an open womb. The Sanskrit word śarvarī (शर्वरी) means both the night and women. Night Sutra develops upon this double meaning, investigating intersectionality through women’s labour, universal suffering, shared transcultural heritage, religious and literary representation of women. This work was shot in four countries, from Dali Dong village in Guizhou China, to Phnom Penh and Siem Reap in Cambodia, from London, UK to Vevey, Switzerland. We see women of different backgrounds connected by the common act of utterance, unfolding in a multitude of languages, both ancient and contemporary. A sūtra (सूत्र) in Sanskrit refers to a collection of teachings strung together. Here Han mimics the block-printed format of the Buddhist manuscripts while sewing and holding multitudes together through moving images. The stories of exile, diaspora, restoration and rebellion are recorded episodes of the artist’s psychoanalysis session which ruminates on generational womanhood and motherhood, postpartum depression, the bodily suffering that marks women's existence, as well as her critique on the seldom discussed misogyny in Buddhism. The textile installation The womb (निशागर्भ, niśāgarbha) recontextualises darkness through the use of the lustrous traditional cloth made by Chinese Kam/Dong minority(侗族)women who worship the colour black for its reference to the darkness of the womb. Han intimately engages with various artistic and intellectual traditions and religions as a feminist critique through enacting a Cixousian écriture féminine, supplemented by cultural locality and individual specificity of the speaking female bodies.
 
 
 
 
 
Han Mengyun
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