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.
2010 1 Floating Island - A Horse2. Floating Island - A Camel
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관리자 2011-04-11 22:58
Floating island ‐ A Horse and Floating island ‐ A Camel shown at this show were made in 1999, and the standstill forms of the two animals that were used also for both transportation and communication reveal the predetermined conditions of nomadic beings wafting within history. Unlike in his other works, here, the multiplex divisions and the color schemes are restrained in these picture planes into which geometric shapes made of cold, metallic materials incorporated so as to let floating reality and the inside of history subtly intersect. Is it by chance that these geometric forms, which resemble the stone pillar or the simplified images of stone fragments overlapping the works of his series work of ancient maps, are located at the regions of the backs of the horse and the camel as if they were those animals’ wing? Cheong’s art tells the conditions of reality and the individual that have to face with the contradictories of the times and histories in a symbolic language that surpass time and space.