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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.


Joe Namy

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BB2024 2024-11-29 15:55

Joe Namy
Dub Plants, 2024, sound installation (bamboo, 8 horn speakers), 800x300x300cm.
 
Dub Plants (2024) is an installation that explores the historically connected kinship between radio culture and agriculture. The first iteration of the project dips into radio waves first transmitted across the Thames Estuary in 1920 in the United Kingdom, where the first live entertainment broadcast was streamed from the telecommunications company Marconi’s workshop. Joe Namy expands this research by looking into one of Marconi's first long distance broadcast experiments in 1924. It was that a signal was beamed to a ship called the Elettra which was stationed at the port of Beirut. This technology was later pirated in 1944, when one of the earliest works of electronic music was created using radio technology to dub a trans-mutated zaar (possession) healing ceremony by the visionary composer and creative ethnomusicologist Halim El Dabh in a radio studio in Cairo. Radio waves planted new sounds and dreams for growth and healing. El Dabh’s The Expression of Zaar is one of the earliest known works of tape music or musique concrète, and thus discovered the potential of sound recordings as raw material to compose music. Namy’s installation looks like a makeshift broadcasting tower in bamboo with Marconi Sound projectors attached to it which broadcast the artist’s composition based on aforementioned histories through the Busan Museum of Contemporary Art.
 
 
 
 
 
Joe Namy
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