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.
Stephan DILLEMUTH
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관리자 2020-09-05 12:28
Born 1957 in Büdingen, Germany
Lives in Bad Wiessee
Stephan DILLEMUTH,The Pleasures of Now, 2016, Lifesize body cast, variable dimensions
The relationship between the artist and society is been a central issue to Stephan DILLEMUTH’s work. It is his conviction that art has the potential to trigger social and societal changes, and not merely to reflect upon them. He raises questions such as: How and for whom is society shaped? And: What is the artist’s role in society? DILLEMUTH has a research and documentation-based artistic practice and when engaging with the above-mentioned subjects, he studies their historical, sociological, and political aspects. Generally, he sees research, analysis, and experimentation as an integral part of the artistic practice. He further investigates the importance of globalization in relation to our conception of the “public sphere”, and he has gained recognition for his exploration of the entanglement of “artistic life” with neoliberal agendas and capitalist valuation structures. He also combines historical research with artistic experiments. He works with mediums such as installation, video, performance, painting, and text, and he is an active participant in collaborative and self-organized activities.