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6th Sharjah Biennial참가 대한민국작가;
Ahn Pil Yun;
moves adeptly as an artist between light and its mirrored refraction: she performs a symbolic ritual, out of which tradition is electronically deciphered. The process resembles an interior being pulled inside out like a black hole. The intensity of light refraction in works like Deep Mirror, act as both a vanitas and as transmitter. In Deep Mirror, neon light seeps through gaps of stone slabs, giving the impression of snakes.
She speaks literally of the innocent aspects at the heart of the split in process between changing traditions, altered memories and their transparent and negative potentialities. The work embodies a kind of utopian vision, through performance and installation. Her role as interlocuter between these symbolic/real worlds is situated also in the imaginary of the urban and its infrastructures of communication. The introjection of its technologies is becoming a part of an everyday story telling. In this case, she speaks of the ordinary man of, say, 70 years life expectancy. How is it for such a man? It would be too easy to address to the many to be popular, especially in a time of emergencies. Ahn Pil Yun asks each visitor for their password.
In Password, two-way mirrors disorientate by way of semi-transparent walls. However the artist dislikes any singular metaphoric interpretation, pushing and pulling in/from the experiential, physical impression of film and video and its surface. She employs ultrasound devices and projection beams through these transparent mirrors. The video image, telephone calls on one screen to the other are (dis)connect, whereby the viewer acts as intermediary. The author and the subject act mutually as mediumistic guides through zones or spatial thresholds, to lead an adventurer to a point of illumination, a ‘blue’ room. (These blue rooms were early tv sci-fi stock and trade for special effects). Ahn Pil Yun often talks in an uncanny form of address, an untainted space traveller arriving with a future that violently but prettily, interrupts the seamlessness of the secular, isolated, present.
Sharjah International Biennial 6 will represent 117 artists from 25 countries, as a questioning of the relations that constitute the global sphere of cultural agency.
Curators Hoor Al Qasimi (UAE) and Peter Lewis (Goldsmiths College) have worked with a number of other international curators including Britta Schmitz, (Hamburger Bahnhof, Berlin), to select works for the Biennial.
The new Expo Centre will host, with the Sharjah Museum of Art, works of installation, video and photography in a survey of contemporary practices, that have looked at the developments in the UAE and Arab world (recent survey “5 / UAE” at Ludwig Forum for International Art, Aachen, and of the work of curators, artists and writers that have come to prominence since “ Documenta XI,” such as artist/theorists Tony Chakar, Jalal Toufic and Bilal Kheibz).
The curators have selected works that articulate the multiple, yet general discourses between aesthetics and politics in terms of both a diversification and co-inciding of representations and insurgencies. In the generalised terms of the post-modern/post-colonial conditions that are interrogated, also in view of recent 9/11 consequences, the Biennial aims to address this aesthetic, specifically at an urgent time now.
The Biennial is showing the works in dialogical contexts, as emerging between these dangerous slippages.
Opening simultaneously at Sharjah Expo Centre, and at the Museums of Art, on April 8th it will run until 8 May the event breaks the mould of previous Biennials in representing alternative practices. More attention is given to realising artists" projects.
A retrospective of works by Eduardo Chillida is organised in conjunction to the Biennial at the Museum by Dr. Dorothea van der Koelen.
The catalogue comprises 630 pages, in colour with also a short guide. It is written in Arabic and English and has commissioned essays from writers from UAE, Lebanon, Europe, USA and China.
Prizes at $50,000.
Guest Professor Janis Jefferies (Goldsmiths College) joins writer / artists Tony Chakar, Bilal Khbeiz and Jalal Toufic for the symposium on 9 / 10 /11 April "
Changing Horizons: New Aesthetic Practice” organised by UAE art critic Talal Moualla.
6th Sharjah Biennial Press release, received from Peter Lewis, 21 January 2003 Sharjah Biennial 6 will represent 117 artists from 25 countries, as a questioning of the relations that constitute the global sphere that artists now are introjected into. Curators Hoor Al Qasimi (UAE) and Peter Lewis (Goldsmiths College) have worked with a number of other international curators including Britta Schmitz, (Hamburger Bahnhof, Berlin), to select works for the Biennial. The new Expo Centre will host, with the Sharjah Museum of Art, works of installation, video and photography in a survey of contemporary practices, that have looked at the developments in the UAE and Arab world (recent survey 5/UAE at Ludwig Forum for International Art, Aachen, and of the work of curators and writers since Documenta X & XI, and Tamass, artist/theorists such as Tony Chaker and Jalal Toufic). The curators have selected works that as neither model nor exception, articulate the multiple, yet general discourses between aesthetic and politics in terms of both a diversification and co-inciding of representations and insurgencies. In the generalised terms of the postmodern / post-colonial conditions that are interrogated, also in view of recent 9/11 consequences, the Biennial aims to address the unheimlich 'peace', as part of its 'folly', showing the works of a socially immersive aesthetic in post-autonomous contexts emerging between cultural slippages of human artifice and discursive agency. Opening simultaneoulsy at Sharjah Expo Centre, and at the Museum of Art, on April 8th until May 8th, the event breaks the mould of previous Biennials in representing new practices. More attention is given to the specificities of realising artists' projects. A retrospective of works by Eduardo Chillida is organised in conjunction by Dr. Dorothea Van de Koelen. The catalogue 590 pages, colour in two volumes, one commemorative, with also a short guide, will be written in Arabic and English and commissions essays from writers from UAE, Beirut, from Europe and USA, Japan to name a few. Prizes at $50,000. Guest Jurists Prof. Meg Cranston (Otis) and Prof. Janis Jefferies (Goldsmiths) join the symposium "Changing Horizons: New Aesthetic Practice "organised by critic Talal Moualla.
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