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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.


2002 Between the Fire and the Air

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관리자 2005-10-12 14:21

작가Ney, Bertrand
B. Ney, who takes special interests in stonework, especially in granite, has drawn attention with environment-friendly public sculptures. This work of his is displayed on the side of the central road of the Busan Asiad Main Stadium. It reveals a professional feature of environment sculptures despite the minimal form. He values the sense of the material the stone itself possesses above special techniques. At the same time, he expresses the very natural mutual sympathy stemming from the encounter with a big stone or the sympathy between stone and the flow of water. This work, which is a kind of fountain sculpture, displays even oriental charms. The tension coming from the quiet flow of water over the whole work brings to mind the image of softness transcending the sense of physical oppression the big mass of stone creates.
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