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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 2014-2015

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관리자 2016-08-23 13:32

작가FANG Lijun
FANG Lijun, <2014-2015>, Oil on canvas, 400x720cm, 2015

FANG Lijun
2014-2015

Fang Lijun is one of the most influential artists in contemporary Chinese art. The ‘bald’ figure in his paintings has become the most classic symbol of contemporary Chinese art, and his work style has been defined as falling under the category of cynical realism. Cynical realism was a resistance against the culture during those times. Thus, expressions that sought to break away from heavy and serious themes as well as precipitous screens were dominant. <2014-2015>(2015) is an 8 meters wide painting, and it is one of Fang Lijun’s recent major works. The numerous, big babies in the painting have their backs to the audience and face the huge sun. The strong light the sun gives out seems like massive energy emitted by an atomic nucleus. Babies in the painting stare vacantly at the scene silently. Such intense yet tranquil irony is the most gripping of parts in Fang Lijun’s recent works. In the recent years, his works display a trend of the screen getting bigger and bigger. Moreover, whereas his past works were mainly about bald figures, more and more baby figures are featured in his recent works. This could be closely related to him getting a daughter in 2005. The birth of his daughter must have been a significant change to Fang Lijun in which his life turned into that of a father, and that unconsciously melted into his personal life, unwittingly influencing his work style.
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