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.
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관리자 2022-12-16 15:06
b. 1975, California, USA
Lives in California
Sandy Rodriguez is a visual artist and researcher who grew up in San Diego and Los Angeles in California, and Tijuana, Baja California, Mexico. Her works map intersactions of history, social memory, and contemporary politics. Strongly influenced by both the 16th-century colonial Florentine Codex and present-day incidents along the US-Mexico border and Western US, her series Codex Rodriguez-Mondragón maps the ongoing cycles of violence on communities of color by blending historical and recent events. The maps are painted with locally sourced natural materials such as minerals, plants, and insects employed in recipes that were used in the pre-Columbian culture. The images are painted on sacred (formally outlawed) Amate paper made from fig and mulberry tree bark. In addition to her major solo exhibitions In Isolation (Amon Carter Museum of American Art, Texas, 2021) and Sandy Rodriguez: Codex Rodriguez-Mondragón (Riverside Art Museum, California, 2018), she has also presented her work at the group exhibitions Traitor, Survivor, Icon: The Legacy of La Malinche (Denver Art Museum, Colorado, 2022) and Estamos Bien: La Trienal 20/21 (El Museo del Barrio, New York, 2021).