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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 Affection

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관리자 2016-08-23 11:30

작가PARK Jihye
PARK Jihye, <Affection>, HD video, sound, 06'43", 2016

PARK Jihye
Affection

The yardstick by which an individual’s values are defined can be classified by social standards. In other words, conflicts arise when such values are accepted by external influences, or get frustrated. However, individuals’ desires are restrained at least to a certain extent as they are regulated by social standards. Thus, the forms of each individual desire may differ, but psychological anxiety caused by such social pressures is inherent in every relationship, and such anxiety connects one individual to the other in a complicated manner. This is expressed in the form of continuing violence in the modern society. I recognize such violence as a problem related to relationships and its interactivity, and tries to lay them out in the form of an artwork. Contemplation on relationships is closely related to not some gigantic existence but love, romantic relationship, jealousy, compassion, and those closest to an individual’s daily life. The closest relationship is a space dominated by much more customs, myths, and formalities than any other relationships. That space may seem like a venue created by an encounter between two individuals, but in fact it is a complicated venue in which numerous concepts and desires collide, exchange, and compromise, and a venue in which basic conflicts lay dormant. The artist captures unilateral obsession, desires hidden behind close relationships, and violence lying beneath the surface present in relationships by combining personal experiences and real life incidents with symbolic objects, stories or fairy tales. She produces an immensely realistic yet unrealistic video by creating aggressive situations in which not only affection and conflicts in relationships, but also the hidden ironies, conflicts and anxiety of forming relationships with societies intersect at a junction in which horizontal time and vertical time crosses each other.
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