스킵네비게이션

Archive

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 Modern store

Read 10,573

관리자 2016-08-23 13:40

작가CHO Hyeongseob
CHO Hyeongseob, <Modern store>, Mixed media, Dimension variable, 2016

CHO Hyeongseob
Modern store

Renaissance, all creation, modernization were favorite words used publically and as political slogans during the 70’s and 80’s in Korea. These words once loved by the whole nation have now become a rare sight one can only find on signboards in the countryside. From ‘Renaissance Store’ that doesn’t seem to be able to revive, ‘All Creation Store’ which doesn’t seem to be big enough to offer all kinds of creations, to ‘Modernization Store’ which doesn’t seem modern at all, keywords of the desire of the time could be perceived. Intense desire for abundance of an era accompanied by poverty, decline and absence connect to the present like a shadow of irony and irrationality. Cho Hyeongseob elaborates on the values and ideals we have lost in the pieces of our memory or on their boundaries. 
TOP