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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 Memory of Transmission-A Big Hoe

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관리자 2005-10-12 14:21

작가Won, Sung-Duk
This artist has demonstrated sharp insight into things through the various techniques with materials such as steel, stone, and molding and came to attract the attention of the public with the works he entered for the National Art Exhibitions in the 1980s. His sculptures of conceptual trends have been considered impressive in that he enlarges the traditional and folk objets. He is enlarging a ready-made product for this Busan Sculpture Project. This time he enlarges a hoe, which is a tool forgotten in the city but widely used in the country. That is, he combines a hoe, which has both elements of something folk and daily, with the spirit of tradition. This work made with the technique of bronze casting and displayed on the elevated pedestrian passage of the Asia Main Stadium, gives domestic and foreign viewers deep impression on the tradition and folk culture of Korea.
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