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 MD Painting
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관리자 2009-08-27 15:59
(Multiplying difference in Allo-Automatism)
Charles Jencks has mentioned once that the multiplying difference structure of computer is the new hope of the comng 21st century. Multiplying difference that makes images through endless overlapping procedure and structure of layers is a basic strategy of structure in computer works. On the premise that the unconsciousness and spiritual world of human in the 21st century, who rely on computers, are under the rule of structural strategy of the computer, I intend to paint a picture that couldn't but automate in the virtual space where the limitless development and continuous effects occur since year 1999. Such attempt is ultimately connected to the concept of "Allo Bio" of Marcos Novak, and it creates a painting of difference through endless overlapping of layers of downloaded patterns and color data from various web sites and their automatism. The process of inventing virtuality in reality by creating a painting, a real object, with the data from virtual space has intention of 'inside out', in other words 'eversion' of the conflicting matters such as virtuality and reality, or actuality and possibility. Further, by endless overlapping of layers, the mutation and actuality of "unpredictable" conceptual space make an eventually appearance, and the process of becoming 'an automated new painting' results a complete difference. This production process has something in common with Gerhard Richter's portraying process. However, while Richter uses the patterns and colors from the actual world, I had the intention of showing the eversion by inducing overlaps of the data from the virtual world, and of signifying the perfect 'painting of difference' by having range of 'Allo Bio' as well. My MD-Painting series is titled as Abstraktes Bild, same as that of Richter, like a joke, but it was intentionally entitled so with the cross-metaphorical standpoint.
- Summer of 2008, Cody Choi