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Busan Biennale 2008

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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.


2008 CHOONG-HYUN ROH

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관리자 2009-08-27 17:09

작가CHOONG-HYUN ROH
The works of Zari (means space or place in korean language) are the paintings based on materials and photographies which were taken and catched in zoo. The spot, the object of my attention, was the indoor space of zoo as animal's quarters and a kind of rest area where they come back on closing time.
The utensils placed in indoor space - a red plastic ball, a tire, a small house, a hula-hoof, a water purifier's pail, a plastic swing, etc - made up a crude scenery isolated from the subject of space. A stinking and coarse indoor space. An scenery viewing a fragment of the real. Is it too ironic to be impressed with such a kind of pathetical feeling and poetic beauty for a space?
This space filled with the ironic expressions of life, may be farcical and tragic concurrently. There is no a dramatic event or a story in this odd and queer indoor place, where is uncertain nowhere and too barren for something to grow.
- from artist's note
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