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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.


ayoh kré Duchâtelet

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BB2024 2024-11-29 17:16

ayoh kré Duchâtelet
Hearing Room: Black Magic, 2024, mixed media, dimension variable.
 
ayoh kré Duchatelet’s newly commissioned Hearing Room: Black Magic (2024) is an installation consisting of two semi-circular walls facing each other invoking a courtroom. Featuring documents from institutional collections, the installation explores colonial history as if it is on trial, and how this history is remediated today. Inspired by a report by the Governor General of the Belgian Congo (1950s), who drew up ‘a list of sects and religious movements directed against the whites of the country’ and stated that ‘the Belgian authorities have unleashed a movement of systematic repression against these sects based on black magic and demonology’. The installation links two historical sequences that took place in the context of the Cold War, in the Congo and in Belgium, both of which involved political crimes linked to the financial, industrial and judicial world. The condemnation of the prophet Simon Kimbangu, followed by the repression of the followers of his Kimbanguist Church, accused of spreading anti-colonial beliefs, is juxtaposed with the assassination of the Belgian politician Julien Lahaut, whose investigation ended in 1972 with a strange dismissal. Based on these two stories, Hearing Room examines the role of the document in establishing facts, and the spatiality of the courtroom in relation to fiction and narrative. Inspired by a reflection on the notion of ‘conflict montage’ borrowed from cinema and theatre, Duchatelet restages entanglements that run through Belgian and Congolese colonial and post-colonial history.
 
 
 
 
 
ayoh kré Duchâtelet
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