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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 100 Layers of Ink

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관리자 2016-08-23 18:11

작가YANG Jiechang
YANG Jiechang, <100 Layers of Ink>, Ink on xuan paper, 177x236cm, 1989-1991 © Chang Tsong Zung's Collection

YANG Jiechang, <100 Layers of Ink>, Ink on xuan paper, 236x177cm, 1989-1991

[China]
YANG Jiechang
100 Layers of Ink
100 Layers of Ink

Contrary to making social commentaries with the means of Western avant-garde approach in Chinese contemporary art context, Yang Jiechang adopts the expressive quality of traditional ink painting and Daoist thoughts to reveal social and cultural powers embedded in the current state of global condition. Slaughter was censored due to its representation of the disaster of the Cultural Revolution, while marking his shift towards minimalistic renditions in his paintings. In 1989, Yang participated in the exhibition Magicien de la Terre with the work 100 Layers of Ink. He applied ink over and over on rice paper, and repeated the same process once the paper dried, over the period of a month The image displayed a layer of sheen from the coagulating agents in the ink, and the smooth surface creased into the form of mountains and rivers. This series continued for a decade, carrying forth a period of the artist’s practice which he considered the “useless” phase because “I didn’t know what I was doing, while still making something”. This process allowed the artist to wait for new inspirations, launching a transcendental phase in his work on material and spirit, self-emancipation and portrayal of universal love. His riveting techniques depicted inhuman absurdity and fear, whose effects matched the fear and excitement in Kant’s “Supremacy”.
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