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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 Hidden memories-herb 1, 2

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관리자 2016-08-23 11:38

작가OH Younseok
OH Younseok, <Hidden memories-herb 1, 2 >, ink, acrylic, mixed media, 363x227cm, 2014

OH Younseok
Hidden memories-herb 1, 2 

The main topic of <Herb>(2016) series is healing the ‘multifaceted conflict, fear and terror revealed in the hidden memories of human’. My works show the will to create motivated by hidden memories, and ‘bio codes’ that treat illness of the mind, grudge and resentment. This work contains in them the meaning of floral tribute to modern people by presenting flowers, herbs and texts. The series do not deliver fixed images and meanings through their reproduction of subjects or memories, but dismantle religious writings or texts of confessions inferred from the memories or from the subjects, and then reassemble them, combining them with images to create visualized texts not abstract texts. They become existences that await encounters with the audience at a point somewhere between ‘reading’ and ‘fascination’.
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