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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.


JUNG Yoonsuk

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관리자 2020-09-05 13:34

Born 1981 in Seoul, South Korea

Live in Seoul

 

JUNG Yoonsuk,The Home of Stars, Single channel video, color, sound, 12min 8sec

 

JUNG Yoonsuk is among the few people who have succeeded working both as a visual artist and film director, managing to merge his interest in documentary with art-making. Focusing on social, political, and other potentially sensitive issues, JUNG acts as a fly on the wall and observes, develops narratives, and makes information available to the viewer without taking a specific or critical stance for or against the subject he is examining.

The video and installation The Home of Stars (2010) is an example of JUNG Yoonsuk’s earlier work that the artist produced in the iconic former headquarters of the Defense Security Command. Here JUNG projected political images of the 1980s on all four walls of the infamous and controversial building, and by doing so he reminded the viewer of the recent Korean history, the struggles and vulnerability of democracy.

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