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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 NO.22즐거운 인생

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관리자 2009-08-27 15:59

작가WENLING CHEN
From to -Unscramble the transition of Chen Wenling’s Sculptural Language

Chen Wenling is a very imaginative and creative artist. He always put the people and the animals in a relation with his works. And this relation has been achieved by the ambiguousness and the nervousness between the nympholept and corpulent animals. With this relation, Chen made the gaudeamus, campaign, power and desire to their peakedness. It not only expressed a kind of earthly delights, worldly humorous and earthbound fun, but also recreated the endless of people’s physical desire, and then satirized the interrelated system of desire and money, physical body and power. In the serious of “Happy Life” and the “Valiant Struggle”, Chen filmed the plumpy people and wild animals. The stout and crazy pigs, ferocious dogs and sexy mermaid beauty with their master---human kind form the work’s tensility. However, the crux of the matter is not merely this relation, but more important is that Chen treated these animals to the fetish of human’s desire, meanwhile, the works arranged these rhetorical questions, like “What is desire?”、“How desire comes?” Obviously, the artist answered these questions with the magniloquent sculpture language: the human desire is no more than hedonistic benefit gained in possessing and exchanging. Chen Wenling started with the viewpoint of grass roots, persisting the righteous social consciousness. He conveyed the scorn and the criticism to irrational desire, peacockery, power and violence with cynical and black humor attitudes. Chen Wenling not only took realism to the sole created method, but mixed folk images, popular images and historical images at the base of realism, employing the fantastic, ironic and humorous black comedy in the manners of conciseness, rusticity, naivety and overstatement.
- Huang Du
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