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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.


Bang Jeong A

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BB2024 2024-12-02 10:03

Bang Jeong A

Anytime I Can Join Your Ship, 2024, acrylic on canvas, 145.5x605cm.

 

Anytime I Can Join Your Ship (2024) resembles the Dragon Ship of Wisdom (Banya Yongseon), a ship of salvation crossing the secular world (sea of suffering) toward nirvana. People aboard the ship look around in different directions, at times seemingly surrendering with fear. Passengers on the ship bound for an unknown destination are strangers to one another, but they form a community of destination intertwined by time. When sailing beyond the chaotic world toward paradise, the ship can only be a ship of cooperation with crowds of people gathering together. And anyone can board the ship anytime.
 
 

Those Enlightened in the Water, 2024, acrylic on cotton, 430x280cm.
Growing Claws-Becoming, 2024, acrylic on cotton, 420x317cm.
 
An Arhat refers to a Buddhist saint who has broken away from suffering and reached enlightenment and, therefore, has virtue worthy of people’s offerings. Bang Jeong A’s Those Enlightened in the Water (2024) is the artist’s contemporary interpretation of the arhat. Unlike the Buddha and Bodhisattva statues, Arhat statues are unconstrained by the iconography of Buddhist scriptures and display diverse postures, holding various objects. In East Asia, including South Korea, the Arhat is typically represented as male, but Bang painted a female Arhat floating amid a rough ocean. The Arhat, who appears nervous and calm at the same time and barely floats while spitting out water, seems to resemble us, who are struggling to live the here and now, thus coming to realisation every day.
 
Goose barnacles are jammed between rocks near the shore in Growing Claws-Becoming (2024). A person stands precariously on the rocks next to it. Waves relentlessly crash in, and goose barnacles grow under his toenails. At a time when the objectification of all beings other than humanity has ended up endangering humanity’s existence, Bang imagines a transitional life in which humanity is ‘naturalised’ again within the ecosystem of nature.
 
 
 
 
 
Bang Jeong A
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