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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 RPM-1200

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관리자 2016-08-23 17:30

작가ENOKI Chu
ENOKI Chu, <RPM-1200>, Steel, installation, 2006-

[Japan]
ENOKI Chu
RPM-1200

Enoki Chu has been regularly performing avant-garde art in Kobe since he first moved to the city at 16 years old. He worked on numerous installation artworks to protect himself. These works were based on poisonous materials such as nuclear bombs and dioxin. However in 1995 the Great Hanshin Earthquake led him to witness the destruction of the city where he lived with his own eyes. Following this event, he released installation art that did not pertain to either the city or weapons. He used the iron from his surroundings that was left over from when he made a living as a lathe worker and these works amounted to several tons of weight. These installation artworks will be exhibited at the Busan Biennale Exhibition. The materials used their production can be said to repeat endless change and proliferation without limitations to their fixed shape.
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