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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 Long may you run

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관리자 2016-08-23 13:39

작가CHOI Kichang
CHOI Kichang, <Long may you run>, 304 holes on the wall, spot lights, single channel video, Dimension variable, 2016

CHOI Kichang, <Bright TV>, 14’ Braun tube, lamp, Dimension variable, 2011

CHOI Kichang
Long may you run

<Long may you run> (2016) starts from drilling 304 holes in the surface of old walls left in the KISWIRE Suyeong factory. These holes connect old spaces that have been taken out of use and spaces that have been newly formed in order to perform their roles as a bridge of light that enables exchanges between the blunt function of the past and the future which is full of new expectations. These holes are filled with ‘some disappeared objects or the parts of them which are recovered’ or ‘not disposed and preserved, but now the meaning of preserving is faded’.
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