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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 Great Criticism: Casio

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관리자 2016-08-23 18:39

작가WANG Guangyi
WANG Guangyi, <Great Criticism: Casio>, Oil on canvas, 150x120cm, 1993  © Wang Guangyi Studio

WANG Guangyi, <Black Rationality - Pathology Analysis>, Oil on canvas, 75x85cm, 1987  © Wang Guangyi Studio





WANG Guangyi, <Famous Painting Covered with Quick-Drying Industrial Paint 1-5>, Mixed media, 20x16cm, 20x16cm, 20x18cm, 19x23cm, 18x25cm, 1989  © Wang Guangyi Studio









WANG Guangyi, <Famous Tune Covered with Quick-Drying Industrial Paint 1-9>, Mixed media, 29x21cm x 9panels, 1989  © Wang Guangyi Studio

[China]
WANG Guangyi
Great Criticism: Casio
Black Rationality - Pathology Analysis
Famous Painting Covered with Quick-Drying Industrial Paint 1-5
Famous Tune Covered with Quick-Drying Industrial Paint 1-9

A member of the “Northern Art Group” in the ’85 Art New Wave Movement, Wang Guangyi later became a representative artist of the “Political Pop” in the 1990s. During his studies at the Zhejiang Art Academy, an early appeal in Western classical art and philosophy propelled the artist to undertake representations of the concealed classical spirit on canvas with solemn and indifferent approaches. At the end of the 1980s, the transformation of the time and people’s experiences made the artists skeptical of the Western politics and cultures they had once yearned for, where Famous Painting Covered with Quick-Drying Industrial Paint and Famous Tune Covered with Quick-Drying Industrial Paint are pictorial experiments founded on this basis. In other words, they suggest the ultimate encounter of industrialization and capital reality with humanistic enthusiasm and ideals. The epic series Great Criticism iconic during the political pop, superimposes the popular propaganda poster The Great Criticism from the Cultural Revolution with popular Western commercial brands, such that the Chinese image surging in the waves of commercial economy revealed its impulse on political sensitivity and ideology, meanwhile echoing Wang’s Duchampian skepticism on art production. 
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