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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 Polis: Meeting of Lonely Souls

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관리자 2016-08-23 20:08

작가DING Fang
DING Fang, <Polis: Meeting of Lonely Souls>, Oil on canvas, 80x117cm, 1991

[China]
DING Fang
Polis: Meeting of Lonely Souls

Ding Fang’s tragic rendition is an important highlight of “rational painting” from the ’85 Art New Wave Movement. Unlike making basic sketch, his landscape series depict the yellow earth of the highland and the northwestern wilderness, in attempt to represent a sacrilegious reflection and tragic spirit. The subject matter in Polis: Meeting of Lonely Souls is drawn from Ding Fang’s response to the countless ancient castles in ruin located on the shores of the Yellow River and in the vast Gobi Desert. These ancient castles act as ties to communicate with historical memories in the eyes of the artist. Thereon, the composition of objects and overall structure of the image gradually became rigorous and strong, filled with radical and unsettling components. The castles themselves are rigorous, complex, rich and luscious, as they encapsulate the suffering concealed in historical mysticism. Thus, Ding Fang has purposefully placed an enigmatic dim flicker at a distance in City: The Encounter of Lonely Ghosts to suggest the ultimate arrival of new transitions. He introduces heroic sense and tragic awareness into the image, by which to resist the 21st Century globalization and urban materialism. Until today, the subject matters, brushworks and use of colors have changed, while Ding Fang’s art practice continues to probe on the ultimate values and is concerned about healthy living. 
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