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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 16:02

작가HANAZAWA YOTA
My paintings Mori, (Woods) are expressing the everyday, the networks woven between people and their natural evolution.
I need to move around, to get in touch with my environment. I fill myself with these feelings, the energy of places and people who live there.
Landscapes, light, people and their speech are increasingly changing.
I show in my paintings this multi-layered reality of time, diversity of view points and abundance of sensations.
The history of a place is printed in its ground, this ground where we play, walk, run. Tactile experience precedes visual experience in me.
What determines with most strength my relation to reality is the feeling of resistance from the environment to my own body.
Therefore, to increase physical sense of materiality in my paintings I shifted from the visual illusion of flat canvas to wooden relief panels entirely covered by layers of oil paint.
Through the process of making a painting, from the building of wood relief panels to collages of pieces of cloth, application of the first washed colors, brush strokes of thick oil paint, rough rectangles of color contrasts with paint knife, every single of my painting actions is a tactile response to this specific pictorial environment.
By erasing with this painting process all illusion of imitating reality I intend to comunicate the pure joy of painting physicality.
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