Daegu-based artist Choi Byung-So rose to prominence in the 1970s, when he and his colleagues shook up the Korean contemporary art world with their use of new media such as performance and installation. He creates works by repeatedly drawing and erasing lines on the surface of newsprint, completely transforming the substrate’s unique physical properties in the process. His practice engages fundamental questions about art labor, experimentation, time, authenticity, and sustainability in art, while also interrogating the role of the biennale as a site and institution for art production that precedes physical experience.
