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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.


Ashfika Rahman

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BB2024 2024-11-29 17:17

Ashfika Rahman
Bon Bibi and Hundred Saga, 2024, mixed media installation (stitching on digital photograph/C-type print on paper, fabric installation with hand embroidery, metal object, sound and video), dimension variable.
 
In Bon Bibi and Hundred Saga ( বন বিবি ও শতকাহিনী, 2024), ‘Bon Bibi’ is the name of a syncretic cult goddess famous in the Sundarbans, a large forest area spanning across Bangladesh and India along the Bay of Bengal. The cult of Bon Bibi is equally celebrated and adored by Hindu and Muslim communities, demonstrating a form of religious syncretism in what has become a contested territory delineated over colonial lines. Ashfika Rahman presents here a mixed-media installation, made as a collaborative community project which responds to religious violences in Bangladesh and India. The project and installation provocatively archive the names of Hindu and Muslim believers who were killed in religious brutality or conflicts in both countries over the last fifty years. It also includes portraits of religious migrants and a series of landscapes showing the routes of migration, recorded through a performative travel by the artist. Recent political conditions have led to numerous attacks on Muslims in India and violence against Hindus in Bangladesh, resulting in deaths, injuries, and the burning of houses and temples. A video of Bon Bibi Pala performed by a local Pala singer accompanies the installation.
 
 
 
 
 
Ashfika Rahman
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