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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 Silence

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관리자 2016-08-23 18:35

작가WANG Keping
WANG Keping, <Silence>, Bronze, H42cm, 1980  © artist

[China]
WANG Keping
Silence

A member of the “The Stars” group, in spite of not having received any academic training, Wang Keping’s “absurd sculptures”, especially the tortured composition in Silence was one of the most powerful works in “The Stars Art Exhibition”. Inspired by the Theater of the Absurd, and following the grains of the wood to shape his work, branches and knots on the wood were often adroitly transformed into the highlights of the work: a covered eye, a sealed mouth, along with the trace of the sculptor’s slanted mark constitute the artist’s primary visual icons, particularly, the torn face reveals an unrestrained audacity. His wooden sculptures are contentious to the system of censorship on the artworks and the exhibition system, as well as the corrupt dogmatism in China. Erupted through silence, a denouncement of the personality cult, conveying the anger and suffering of cultural suffocation of an absurd time, Wang’s unadorned yet incise sculptural language touches the souls of those yearning for freedom.
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