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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.


HAN Mook

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관리자 2020-09-05 13:07

Born 1913 in Seoul, South Korea

Died 2016 in Paris, France

 

HAN Mook,Cross of the Golden Rhyme, 1991, Acrylic on canvas, 254×202cm

 

HAN Mook (HAN Baik-Yu) is a frontier of the geometric abstraction movement which appeared in the Korean art scene in the late 1960s. Prior to his Paris period, HAN Mook resisted traditional techniques which followed the laws of perspectives and chiaroscuro, and focused on highlighting two dimensionalities on canvas. But during his early years of the Paris period, his practice started to shift to abstraction. The moon landing of Apollo 11 in 1969 was an incident which deeply impacted his artistic practice. He started to explore time, speed, and the fourth dimensional space within his practice, noting that “it is a problem that you don’t feel the outer space while living in an infinite universe where the end is unknown.” With such notions and interests, HAN Mook developed his own language of geometrical abstraction filled with the dynamics of the cosmos. With compass and rulers, he created a form of a helix which infinitely multiplied, presenting continuity of time and the continuance of life. HAN Mook, who strived to deliver the four-dimensional cosmic order in two-dimensional surface, is recognized as a vanguard of geometric abstraction.

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