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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 Untitled 72-D

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관리자 2016-08-23 16:45

작가HA Chong-Hyun
HA Chong-Hyun, <Work 73-15A>, Barbed wire on hemp cloth over panel, 115x115cm, 1973

HA Chong-Hyun, <Untitled 72-D>, Barbed wire on hemp cloth over panel, 122x244cm, 1972

HA Chong-Hyun, <Work 71-11>, Newspaper, paper, 115x820x190cm, 1971

[Korea]
HA Chong-Hyun
Untitled 72-D
Work 73-15A
Work 71-11

Ha Chong-Hyun appeared in the art circle with works following the trend of Informel and then escaped from the painting trends in the late 1960s and changed to structured abstract art. He expressed the phases of time or his status through work using a rope of a wooden box or work tying a canvas at a scheduled time with barbed net. Obsession with objects and the nature of material and handiwork shown in the abstract structure has led to the Painting as plane objects of today. In other words, the expression of material and paint pushed outside by painting on the other side of rough sagging clothes reminds us of the language of saturation, closeness, silence, and suppression. 
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