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.
Monica BONVICINI
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관리자 2020-09-05 12:04
Born 1965 in Venice, Italy
Lives in Berlin, Germany
Monica BONVICINI, As Walls Keep Shifting, 2019, Timber wood, screws, 868×828×870cm
© Monica Bonvicini/ VG Bild-Kunst, Courtesy the artist
With a direct and humorous approach Monica BONVICINI creates visual art—often large-scale sculptures—which expose and challenge existing power structures. With an interest in the relationship between architecture, power, gender, space, surveillance, and control, her practice is multi-facetted both theoretically and practically. BONVICINI works across media with sculpture, drawing, installation, video, and photography. She often uses industrial materials such as steel, glass, leather, and chains, combining the intimate and beautiful with the harsh, violent, and provocative. Since the mid-1990’s she has exhibited her art internationally and she never refrains from establishing a critical connection with the sites of the exhibitions, the materials that comprise it, and the roles of spectator and creator. BONVICINI is merciless when it comes to exposing injustices and she often includes bold and outright political, historical, and social references in her work.