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 무제

Read 10,484

관리자 2009-08-27 17:02

작가RURIKO MURAYAMA
Until her work was presented at an art exhibition in 2001, Murayama, entirely self-taught, had never thought of herself as an artist. After graduating from high school, Murayama started doing batik work in her native Akita in the north of Japan. She then began the task of dyeing a vast collection of single fabric pieces using chemical dyes; using a sewing machine to join them, cutting then resewing them. She methodically chose colors from the hanging pieces of cloth as the mood took her, and sewed them together, the resulting accummulation of colors gradually transmogrifying into something gigantic, ultimately a chaotic riot of color.
As well as these fabric works, since about 1995 Murayama has been working on making objects and dresses by taking accessories donated by friends, cheap trinkets of the kind sold at stationery shops, artificial flowers and suchlike, and combining them, again in improvised fashion. Just as she uses chemical dyes for dyeing, these clusters of accessories are also dominated by chemical products such as plastic and vinyl, giving them an appearance that is "pretty" yet bordering on grotesque.
- AT
TOP