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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 Absolute Principle No.1, No.2, No.3

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관리자 2016-08-23 18:43

작가SHU Qun


SHU Qun, <Absolute Principle No.1, No.2, No.3>, Oil on canvas, 150×200cm / each, 1984  © Shuqun Studio

SHU Qun, <Absolute Principle No.4>, Oil on canvas, 150×200cm, 1986  © Shuqun Studio













SHU Qun, <Endless Road No.2-No.14>, Gouache on paper, 21.5x23.5cm, 21.5x23.5cm, 23.5x27cm, 21.5x23.5cm, 21.5x23.5cm, 21.5x23.5cm, 7.5x12.5cm, 7.5x12.5cm, 7.5x8cm, 7.5x8cm, 36x26.5cm, 36x26.5cm, 26.5x33.5cm, 1983-1985

[China]
SHU Qun
Absolute Principle No.1, No.2, No.3
Absolute Principle No.4
Endless Road No.2-No.14

A member of the “Northern Art Group” during the ’85 Art New Wave Movement, Shu Qun was an early promoter and practitioner of “rational painting.” In Shu’s view, the ultimate issues in art are essentially questions of logic, and the meaning in a work of art is not generated through exhibition but rather, its ability to solve the problem. Hegel’s Absolute spirit, Nietzsche’s hyper-human philosopher and Heidegger’s existentialism are converged into the “civilization of the northern belt”, the composition in religious painting from the middle ages. Metaphysical painting of de Chirico and New Formalism by Mondrian nurtured the abstract and desolate visual forms of “rational painting.” Endless Road series is depicted the fossilized body and the universal environment, the planetary universe, ruins and the seemingly frozen and lifeless bodies. They are temperate criticism on those unconscious brushstrokes. The dark universal space in Absolute Principle (1984-1987) provides a sense of infinity and eternity, the cross, from far to close symbolized time, and the architectural network structures display characteristics of solemnity, sublime and reason. At present, having “reached the sublime” and established “iconic order”, Shu has embarked on a new path towards utopian society.
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