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 둘러싸인 유년기 드로잉
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관리자 2009-08-27 15:52
Perhaps the best ways to understand Askevold’s art making is from the series of project rules on which he based much of his working process which were first developed for his Candadian students in 1969:
1. A work that uses the idea of error
2. A work that uses the idea of incompleteness
3. A work that uses the idea of infinity....'
Rather than a recipe, Askevold’s process encouraged slips of meaning and reference to pile up within his stories and referents. Like the mysticism of the symbolists, Askevold's ambiguity was a rhetorical and schizophrenic one; born as a critique of materialism, it defined itself through its opposition. And like their mysticism, it suggested an alternative enlightenment but also insisted on and reified the mysterious as proof of its claims.
- MC, NB, MD