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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 ADHD

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관리자 2016-08-23 10:53

작가ZHOU Wendou
ZHOU Wendou, <ADHD>, Stainless steel, auto wipers, ink, 300x500x500cm, 2015

ZHOU Wendou
ADHD

Zhou Wendou uses conceptual style of creation and humorous language of art to express a perspective that is somewhat different from other contemporary Chinese works. <ADHD>(2015) is a circular installation work which is larger than 2 meters in diameter. Ink constantly gushes out from the top, and more than 20 ‘windscreen wipers’ installed on the surface make repeated movements to remove the gushing ink. Through such mechanical movements, the artist alludes to the non-automatically controlled characteristics of the modern people that we can easily find in our daily life, excessively repetitive movements and habits. Furthermore, the work is a figurative expression of the internet age in which data is produced endlessly and mechanically, and the state of gradually becoming dull due to attention deficit disorder.
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