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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.


Douglas R. Ewart

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BB2024 2024-12-02 10:48

Douglas R. Ewart
Rasta in Sun Ra, 2001, acrylic on canvas, 210.82x152.4cm.

For Muhal Richard Abrams, 2022, ink on paper, 60.96x45.72cm.

Marshall Allen’s Space Station, 2022, ink on paper, 60.96x45.72cm.

Portals to Sound, 2021, acrylic on paper, 45.72x60.96cm.

Eye of Horus, 2017-2018, wooden ski, piano wire, pen paint, electric bass tuning machines and metal ski binding, 91.44x121.92cm.

Eric Dolphy Sonic Dread, 2017, obsolete wooden bass clarinet, bamboo roots and rhizomes, ostrich egg, fabric, buttons, clarinet reeds, coral, stones, beads, wood glue, nylon cord, screws, and pyrographics, 147.32x39.35x30.48cm.

Sonic Stroller, 2006, orthopedic crutch, deer skin, nylon cord, bells, hamster cage, wheels, cheese cutter, pot cover, metal speaker holder and battery operated movement initiated lights in hamster cage, 152.4x30.48x25.4cm.

George Floyd Bundt Staff, 2020, bundt pans, walnut staff, wood burning, plywood, leather, nylon cord, rubber, rubber cane tip and cement, coral, beads and screws, 182.88x27.84x27.94cm.

 
Douglas R. Ewart’s instruments/implements are constructed from items that have evolved from their original function. Rolling pins, graters, orthopaedic crutches, skis, tennis rackets, film canisters, various kinds of containers, cardboard tubes and given a new life as useful and imaginative musical instruments and sonic sculptures. They become memorial sceptres, paintings and drawings to commemorate key moments and figures in Afro Diasporic music culture such as the Eye of Horus (2017-2018), upscaling a ski to a potential instrument referring to the ancient Egypt imaginaries in jazz, embracing and claiming this ancient African culture, but also employing the associated motifs as symbols of resistance, empowerment and spiritual healing. Eric Dolphy Sonic Dread (2017) is dedicated to the late Eric Dolphy, an incomparable composer, musician, multi-instrumentalist, conceptualist and visionary, and just as with Rasta in Sun Ra (2001), invoking this singular artists creating his own mythology with stylistic nods to ancient Egypt, Ewart dubs both legendary jazz-musicians as Rastafari*.
*Rastafari Movement: A cultural phenomenon and movement that began in early 20th century Jamaica, based on the fusion of African spirituality, resistance to colonial oppression, and a deep connection with the earth.
 
 
 
 
 
Douglas R. Ewart
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