스킵네비게이션

Archive

Busan Biennale 2008

이전메뉴 다음메뉴

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 내가 도시 안에서 말할 수 있는 것

Read 11,370

관리자 2009-08-27 16:49

작가HOJIN LEE
Hojin Lee’s artwork gives off strong impressions, overflowing with embedded energy, in his works, which look as if each of them were created in a single breath. While interpreting the visual codes that are hidden in the energetic compositions one by one, you come to face the complicated layers of implications that are accumulated in the work that are misleading, at first glance, as if it were an abstract painting. These implications, in fact, are the core messages of truth contained fundamentally in the work.
In Lee’s past works, those spaces were expressed under the words of subjective meanings such as ‘21C Diffi_World,’ ‘Post-Community,’ ‘Twilight Farm,’ and ‘Republic.’ These are the “third space” on which we reflect ourselves, living in the post-capitalism society. In this space, the individual’s spiritual attitude is intertwined within society: a society where urban civilization, capitals and financial issues account for everything: the society where the surplus value of money overwhelm the true nature of life: a society where the system surpasses substances.
- Eunju Lee, from Man in Republic
TOP