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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

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관리자 2009-08-27 16:46

작가DONG YEON KIM
KIM, Dong-yeon adapts the properties of typology and develops the meaning in densely compressed state. In KIM's colored-paintings and sculptures is careful and prudent deliberation. In other words, his works go beyond the form of elimination and concentration of matters and result in emptiness and clearness. In this case, his works are fine representation of contemporary structure, quotation, and translation. The work borders a certain formal uniformity but, at the same time, it destructs the uniformity in the refinement of work. This very phenomenon is codified sign of civilization and culture. Over the years, KIM has applied diverse materials and methods in the sense of clearness and concentration. Therefore, a considerable number of works are only few centimeters tall. The central metaphor of his work is conventional city images like the one depicted in The Holy City (2003/2004).
What is considered as a specimen in the fundamental, and what remains anonymity characterize KIM's installation works. Additionally, the work is also based on the exceptional part that connotes intact purity and distinction. Therefore, the work is either just laid on the floor or hung in a string in the air or put on the table. His sculptures insinuate the substantial desires for settlement and nomad lives, and this is represented with religious systems and condensation.
KIM, Dong-yeon regulates imagination and creates odd events, depicting transparent clearness. Silent stationariness and stories are conveyed to the observers in uniformed harmony and the observers are pulled into the whirlpool of experiments. KIM's delicately structured works instantly move us.
- Thomas Hirsch
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