Busan Project IV, 2011, C-print, Diasec mounted, 100 x 228 cm,
© the artist, courtesy Gal. Ivoryprees
Busan Project IV, 2011, C-print, Diasec mounted, 100 x 228 cm,
© the artist, courtesy Gal. Ivoryprees
San Giustinian Lolin, 2011, C-print, Diasec mounted, 70 x 140 cm,
© the artist, courtesy Gal. Ivoryprees
San Giustinian Lolin, 2011, C-print, Diasec mounted, 70 x 140 cm,
© the artist, courtesy Gal. Ivoryprees
NovaHeliópolis IV, 2006, C-print, Diasec mounted, 180 x 405 cm,
© the artist, courtesy Gal. Ivoryprees
NovaHeliópolis IV, 2006, C-print, Diasec mounted, 180 x 405 cm,
© the artist, courtesy Gal. Ivoryprees

Dioniso GonzálezBusan Project

 

The authorities of the city of Busan proposed that I make an intervention-study about the degraded hills that surround the metropolis, whose shabbiness has been caused by a process of dysfunctional and urban- residential encampment. Such settlements arose during the migratory years of the war and afterwards, in the peak industrial period. It was on the basis of this experience that in 2008 the Busan Metropolitan City, the Busan Museum of Art and the director of the Busan Biennale institutions came up with a constructive idea to actually put these images into practice; in short, to take them to a physical, functional level in the form of student residences, viewing platforms and/or museums. Thus the structures coexist amidst the illicit forms of the provisional neighbourhoods – and this not as the result of displacement or suppression, but on the basis of consent and a commingling of elements. Any invalidation, demolition, excavation or destruction through violence is no more than a sterile exercise in urban fumigation, which only implies violent constructive, identitarian and social disruption.

Dionisio González