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.
Sandú DARIÉ
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관리자 2020-09-05 12:15
Born 1908 in Romania
Died 1991 in Havana, Cuba
Sandú DARIÉ, Cosmorama – Spatial Poem no. 1, 1964, Single channel video, digitalized 35mm film, color, 4min 54sec
Courtesy of Instituto Cubano de Arte e Industria Cinematográfica (ICAIC), Havana, Cuba
With interests in space, light and color, Sandú DARIÉ has made contributions to the art world through his kinetic paintings, sculptures, installation and video art. From 1946 onwards, DARIÉ focused on abstraction, and also participated in the Neo-Constructivist movement in South America. His first piece, His works from this period are recognized as lyrical abstractions. Under the influence of Neo-Plasticism and ‘Madí,’ a Latin American geometric abstraction group, DARIÉ developed his practice into Concrete Art. Since the mid-1950s, DARIÉ has experimented with kinetic arts. Focusing on movements, transformation and infinite visual possibilities, DARIÉ’s research led to his moving image experiments in the 1960s, and through Cosmorama he expanded the artistic experience into a new domain. Igniting “the natural perception” of possible new realities, DARIÉ sought to render colors and forms in a kind of cosmic space, portraying a continuous process of transformation through light and emotions. With the movements of forms and lights leading to expansion of time and space on the screen, the work is recognized as the pioneering work in the Cuban contemporary video art movement which explored new audiovisual concepts.