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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.


bani haykal

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BB2024 2024-12-02 10:35

bani haykal
momok elektrik: gamang, 2024, gunny sacks, 9-channel sound, monitor, pure data, mac mini, audio interface, dimension variable.
 
bani haykal's s installation, momok elektrik is a generative polyrhythmic choir birthed by the myriad voice samples recorded and collected as part of its expanding library of protective speech and utterances; an expansive database of spells based on the spirits captured and housed in the computer. Shrouding the voices are various protective talismans written in encrypted Jawi text which are printed on used gunny sacks. In momok elektrik: gamang (2024), new spells are introduced and suspended from the edges of the abyss of violence. The work is centred around the premise of computers (and by extension machines) which houses the 'semangat', essence or spirit, of the users / subjects utilising or dependent on them. The machine as part of an expansive network of data flows, momok elektrik speculates on the possibilities and parallels of encryption in protecting the both the machine and the machine’s user; the ‘momok’ (a ghost, phantoms or spectres in Malay) stands as an entity which resides to protect, to curse and to dispel harmful forces coming its way. momok elektrik was first shown at State of Motion 2021 and later in a group show, Wikicliki under the Singapore Art Museum.
  
 
 
 
 
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