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.
2012 Carmageddon
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관리자 2013-03-25 10:17
Carmageddon
KOREAN ROSARY
In the course of his long career, Bayrle has repeatedly played with serial surface patterns and dealt with the inner lives of machines. Deeply influenced by early travels to China and Korea, he is one of the few Western artists blessed with a genuine understanding of Asian modular production. His work testifies to an unshakeable belief in the miracle of seriality.Though generally associated with industrial production today, seriality has in fact no particularly modern appeal and can easily be traced back to traditional handicrafts such as embroidery or printing techniques.The repetitive motion that drives seriality can also be seen in rituals and religious ceremonies (praying the rosaries in Catholicism or Buddhist mandala painting, for example).According to Bayrle’s work, those two aspects of seriality – endlessly repeated ornament and spiritualization through repetition – are indistinguishable from one another.Anyone who has ever sat in a car while it was raining is familiar with the monotonous sound and equally monotonous movement of the windshield wipers. Sound and movement work in tandem to isolate the world inside from what lies outside. For his piece in “Garden of Learning”, Bayrle has relieved the windscreen wiper linkage “Ssangyong Actyon” of its functional task in order to emphasize its meditative role.While still a machine, it performs as a conductor of sorts, setting the pace for the audience.