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.
2014 Mr. Sea
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관리자 2014-09-16 17:57
2014
Installation, Porcelain + Film
11x6m, 6x6m
Mr. Sea
Geng Xue’s preference to porcelain traces back to her passion of China’s traditional art. Porcelain is a traditional material that carries long-standing historical and cultural accumulations and she has been attempting to dig out a new language from such traditional material. <Mr. Sea> generalizes various mediums. Geng Xue experiments on a new medium to express the porcelain -- using animation film work to bring porcelain status back to alive. “Alive” here not only means “moving” but also emphasizing the creation form that has fresh life force. The jade-like light of porcelain, light from moving and light of films experimentally combine and form the specific ‘language of light’ for this film. Such ‘language of light’ is the ‘spirit’ of the rest languages seen in the film; it’s the language among the porcelain, sculpture and film language -- it is their interactions that fulfil the overall ‘porcelain-visual’ in the film. This display of ‘porcelain-visual’ as the main visual and formal language has both accurately and sufficiently expressed the characteristics of porcelain and also effectively delivered the specific aesthetic of Liaozhai and the quality of Chinese ancient mysterious novels.