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.
2008 AEHEE
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관리자 2009-08-27 15:49
Different adult-sitters were required because it was important not only to conduct, undergo, or adapt to different experiences, emotions, and physiological rhythms, but also to discover how I responded to them and metamorphose myself. Likewise, only by being observed by third parties and thus detaching the process from my own views and consciousness, could I go beyond myself and dream of the changes to my consciousness.
Although the adult-sitters may have participated in the project because of the artist’s affection deficiency, in the process, they formed intertwining and mutual relationships with the “object of care”, which sparked off incidents and inspirations that are impossible to measure. Furthermore, the project could become a venue for the mutual sharing of new sources of inspiration. Affection toward pets or little children is different from the sense of possession or obsession with toys or even industrial products. The mutual interactions are intricate and the relationships themselves are important.
- from artist's note on Caring for Ae-Hee(“To be ? pet” in the “To be“ series projects)