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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.


Shin Hakchul

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BB2024 2024-11-29 17:19

Shin Hakchul
Korean Modern History-Termination of Agony, 2021, oil on canvas, 330x130cm.
Korean Modern History-Candlelight Revolution, 2022, oil on canvas, 181x259cm.
 
“I would like to regard the scenes of carrying lunch in a basket to the farming fields as history as well. Although they do not represent a significant scene in political history, they are a life and cultural history. I used to perceive those histories as shabby, but I am prouder of them these days”, from an interview with Shin Hakchul, Sinbuldang Art Centre (2023).
 
After entering Hongik University, Shin Hakchul switched from his early style of modernism to the style of Minjung Art during the political turbulence of Korean society. While striving to understand history in concrete entity, Shin presented around forty works, including the Modern Korean History series in the 1980s and the Contemporary Korean History series in the 1990s, creating a sensation in the Korean art scene. Shin’s Korean Modern History—The Termination of Agony (2021) reveals figures of modern and contemporary Korean history, standing on the death of countless faceless people (minjung). They are surrounded by numerous individuals who have been lost and sacrificed, ensuring that the vertical composition of the figures does not collapse. The history of civilian sacrifice, beginning with the massacre during the Japanese colonial era, the horrors of the Korean War, the April 19 Revolution, the Gwangju Uprising, labour protests, and peasant movements, rise in flames, like a mysterious thundercloud.
In a contrasting resonance, the work Korean Modern History - Candlelight Revolution (2022) deals with the 'Candlelight Revolution,' the movement demanding the resignation of the Park Geun-hye government between 2016 and 2017. This was a citizen movement calling for the resignation or impeachment of the 18th President, Park Geun-hye. On December 9, 2016, the National Assembly passed the impeachment motion against President Park Geun-hye, and on March 10, 2017, the Constitutional Court unanimously upheld the impeachment, resulting in her removal from office. The imagery evokes the saying ‘The ruler is the boat, and the people are the water. The water can carry the boat, and the water can overturn the boat,’ embodying the concept of Gunjuminsoo. Shin, who adheres to photographic images to make sure he does not distort history, states, “This is no lie. It is real, the truth. I use photography to tell these stories. It is a way of saying, “Look, I have photos that were taken on site’ As I work with images obtained from the media, I can stay close to reality, so I’m not lonely”.
 
 
 
 
 
Shin Hakchul
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