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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.


Eugene Jung

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BB2024 2024-12-02 14:32

Eugene Jung
WoW (Waves of Wreckage), 2024, broken temporary walls, malfunctioning drones, MDF plywoods, cement, stainless steel pipes, and other mixed materials, dimension variable.
 
Eugene Jung’s WoW (Waves of Wreckage) (2024) resembles a temporarily wrecked pirate ship. The pirate ship led by Captain François l’Olonnais, which was bound for Central America in the 17th century, encounters headwinds, currents, and a stream of bad luck, ending up in a wreck. L’Olonnais pulls down the wrecked ship and builds a boat with the wooden strips. Then, following the democratic provisions of the pirate code, he had his men vote on whether to follow him up to the Nicaraguan River or remain in the Gulf of Honduras. The pirate ship was a sort of space for liberation for those who suffered from the relentless and dense calamities of reality: disease, poverty, and hunger. The current reality, constantly being dislocated and unstable amid the gap between the capital structure and the system, seems to have destroyed even the pirate ship that was regarded as a temporary space for liberation. In Waves of Wreckage, the demolished wall and dismantled traces have become the boat that heads again to sea, while the floor remains fluctuating like a giant wave. The ruins before our eyes shake our sense of reality and encourage an imaginary voyage. The oath that pirates sealed with the symbols of human skulls, axes, and staggered guns continues to the voyage here and now.
 
 
 
 
 
Eugene Jung
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