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.
Karl HOLMQVIST
Read 1,451
관리자 2020-09-05 13:17
Born 1964 in Västerâs, Sweden
Lives in Berlin, Germany
Karl HOLMQVIST, Untitled series, 2020, Ballpoint pen on paper, 56×42 cm (17), 42×56cm
Karl HOLMQVIST is insistent about words. Through books, performances, posters, sculptures, lamps, videos, and sound works, HOLMQVIST has for more than 30 years been testing the word, not in order to come to an actual conclusion, but in order to explore its possibilities. HOLMQVIST uses cheap, accessible materials such as black and white photocopies, sharpies on walls, and ballpoint pens on paper to create his work. Since the late eighties, where he placed Give Poetry a Try stickers in New York subways, HOLMQVIST has repeatedly tried to encourage people to write and perform poetry. In HOLMQVIST’s universe, text can take a great many forms. He has a longtime interest in found text and the tradition of concrete poetry, and he uses overheard speech, advertising slogans, newspaper headlines, song lyrics, familiar idioms, and axioms to produce a non-linear, non-narrative treatment of language that can generate new meaning.
Included among HOLMQVIST’s visual references are art historical reproductions, rock iconography, and geometric mandala patterns, which are equated and juxtaposed with single words, a pop song or a disembodied piece of text. HOLMQVIST’s works are as much concrete material as they are tools to address social, political, and cultural issues and current intersectional concerns such as racism, homophobia, and gender inequalities. Karl HOLMQVIST has published more than 30 collections of poetry, and he constantly shifts in scale between private intimate book experiences and readings, to monumental public posters and sculptures.