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.
RAM HAN
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관리자 2020-09-05 15:40
Born in 1989, Seoul, South Korea
Lives in Seoul
RAM HAN, Case_01_01(toxin), 2020, Digital painting, light panel, 100×100cm
RAM HAN’s digital painting, lightboxes, and installations have deep roots in the fantasy genre, pop- and manga culture. The imaginary worlds that RAM HAN creates are digital drawn on tablets, processed through Photoshop, altered, and distorted with various tweaks and transitions. The digital paintings consist of lush, striking, blight and often candy-colored images featuring luxurious rooms, jewelry, foods, showers, flowers among other things. At first glance they appear as attractive advertisement images for must-have products or dreamy places you know, have seen or want to visit. However, at a closer look the eye-catching, desirable pictures have a slight dystopian and psychedelic twist, almost as if they are seen through a magnifying glass of hallucinations.
RAM HAN is a digital native and raised with the internet and social media. Naturally, a large portion of her practice happens online and appears as a fluid exchange between real life experiences and the virtual world. The images that inspire RAM HAN she often finds on social media, she paints them digitally, produces and displays them as square lightboxes—mimicking the shape from Instagram and social media. After the works are shown in galleries or museums, she crops them and releases the fragments on social media, and hereby creates a full circle of recycled imagery of both real and virtual experiences.