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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.


2016 Drama of Two Culture Formats Merge

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관리자 2016-08-23 19:16

작가GU Wenda
GU Wenda, <Drama of Two Culture Formats Merge>, Ink, gouache on rice paper, 137x68.5cm x 8panels, 1987

[China]
GU Wenda
Drama of Two Culture Formats Merge

The critical positions on his native culture, Western culture as well as his continuous artistic experiments ground Gu Wenda’s position in the history of Chinese contemporary art. As a founding artist of Chinese experimental art, he had already began to explore new possibilities in Chinese painting as early as the 1980s, integrating ancient Chinese cultural spirit and typical symbolic objects with western language of oil painting, even adopting surrealist approaches from an angle of cultural reflection, critiquing the symbolism of the Chinese character and its traditional framework. Drama of Two Culture Formats Merge blends the medium of ink painting with installation with the desire to destroy and inquire. Using lines, permeations and ink splashes, Gu rendered forms that resemble the human face and organs, or rather, symbolic totems in various forms. The two cultures refer to “traditional literati culture and the political culture of the Cultural Revolution”, thus, when the red-cross marks and arrows are added to his imageries, it’s astounding effects become more apparent. In 1987, Gu immigrated to America and began working primarily with mediums of installation and performance, departing from the essence of a human being, posing questions to issues of globalism.
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