Peter Wächter, Untitled, 2017, ceramic, 37 × 35 × 35 cm (foreground); Rehearsal, 2020, watercolour, crayon, ink on paper, 137 × 140 cm (behind). Courtesy Galerie Lars Friedrich, Berlin
Lee Yona, En route home, 2020, stainless steel, objects, variable dimensions. Courtesy Busan Biennale
Directed by the Danish curator Jacob Fabricius (currently artistic director for Kunsthal Aarhus in his native land), who was appointed in July of last year, the exhibition takes as its generating concept the interpretation of works of art and their translation into another artform.
Peter Wächter, Double decker, 2020, plaster, wood, synthetics, art stone, electronics, ink, 107 x 150 x 45 cm. Courtesy Galerie Lars Friedrich
Kim Heecheon, Deep in the Forking Tanks, 2019, single channel video, colour, sound, 42 min
Eight Korean and three fiction writers from Denmark, Columbia and USA, representing different generations, genres and ways of writing, were invited to visit Busan in late 2019 and then commissioned to write stories or poems ‘around or about’ the city.
Such Yongsun, The Arrested Man, 2003, oil on canvas, 250 × 200 cm
The stories structure the exhibition’s ‘chapters’ and the poems provide ‘intermezzos’. Each of the 67 participating artists and 11 musicians (from around the world) was asked to create a work in response to one of the texts.
Josef Strau, I tried to make birds, 2020, sand, lampshade, paint on restored metal, A2 poster, variable dimensions. Courtesy Galerie Buchholz, Cologne (foreground); Jeuno Je Kim & Ewa Einhorn, Kino Claw, 2013, installation, 600 × 450 × 400 cm. Courtesy Malmö Konstmuseum (behind)
Monica Bonvicini, As Walls Keep Shifting, 2019, timber wood, screws, 868 × 828 × 870 cm Courtesy the artist
Mercedes Azpilicueta, Lady’s Dream or Stop Right There Gentlemen!, 2019, jacquard textile (wool and cotton), 157 × 600 cm. All images courtesy Busan Biennale unless otherwise stated
As part of our partnership with Art Week Tokyo (AWT), Editorial Director of AWT Andrew Maerkle speaks to ArtReview’s Editor-in-Chief Mark Rappolt about the origins and impact of AWT’s programming.
This group exhibition foregrounds Gen X artists that lived the shift from analogue to digital in real time, reality show-to-influencer pipeline, hypercapitalist austerity and trad-fascism
‘Dissident Chorus’ explores how worldly things overflow their bounds – like sound, like cultures, like water. But is dissidence something you can curate?
That this Autumn’s riots have occurred – and that the artworld, ever keen to wash its hands of politics when unable to dictate them, ran scared – can be seen as nothing else but inevitable
