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.
Daejin Choi
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BB2024 2024-11-29 15:14
And, nothing was said (2024) is a large drawing of Headquarters of Intelligence Detachment (HID) agents taking a short break on rubber boats during combat training. The story of HID agents sent to North Korea is similar to the blind and sad love story that we can easily think of. “We entered the enemy lines holding guns, without any identification and service number. We died or disappeared without leaving a trace, for we laid down our lives for our country. Nevertheless, the country abandoned us. We each somehow survived and have lived out somewhere our remaining days. Still, we love our country, as always”. Daejin Choi asks, “Is this a sort of gaslighting by the nation toward individuals? Shouldn’t it release them before the affection distorts into an obsession disguised as love?” The agents in the drawing all wear black rubber diving suits. Some have goggles on, while others have them off, taking a break around the boat. We can only guess what their eyes look like. While their harsh training and life-threatening missions demand great mental integrity and alertness, their eyes may seem empty and hollow. The artist says, “Maybe ghosts are born in this way”.
Daejin Choi
