스킵네비게이션

Archive

Busan Biennale 2002

이전메뉴 다음메뉴

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.


2016 Law of the Jungle

Read 10,399

관리자 2016-08-23 17:19

작가OKAMOTO Taro
OKAMOTO Taro, <Law of the Jungle>, Oil on canvas, 181.5x259.5cm, 1950

[Japan]
OKAMOTO Taro
Law of the Jungle

Shortly after Japan was defeated, masters of artistic circles returned to painting trends from before the war without a second thought. During this time, Okamoto Taro appeared like a time-slip in another world and presented a painting style that was aligned with ugly but humorous animals that resembled animated characters. The Rules of the Forest was inspired by his father, Okamoto Ippei who was Japanese representative cartoonist. At that time, a cartoon was ranked lowly as a means of expression that was beneath painting. Ippei drew cartoons for kids like Taro, causing him to grow up with his own feelings that ran parallel amongst the two areas as a source without prejudice that told stories of excellence in Taro’s heart.
TOP