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.
2004 Contemplation of 49 people
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관리자 2005-10-12 16:11
I gazed the films with put the box on the desk for several days, then I had mind to work the films.
First, I pick up 100 films in random and ordered to have them developed the size centu-ple at a photoshop. After a couple of days pasted, when these unimaginary negative films I couldn't dare to imagine were revealed to me, the feeling toward them were too calm and alive so that they brought me to the space of fresh poetic inspiration. So much different images from the younger to the youth, the young, the older and the oldest and their seeming gaze toward me unlikely looked at me. They were just stopped into the lens at the moment of their pose to be took pictures.
The direction of my working is to try putting them on the gap between the past and the present when they were real.
The gap between existence and absence, life and death, past and present time and the crack of stuffed past between the places where they lived and color-faded pictures.
1)Make their eyes closed not to allow to be slipped away the light of their souls, over-coloring on the photos
2)Represent the gap between life and death, inspiring warmth on their lips with red color.
3)Let the butterflies fly around their bodies as intermediators or messengertos. These negative images which were doomed to dispose due to the photoshop's shut down told me like ghosts, being blocked in the thin and transparent film because of witch's occult, for tens of years in stoppage.
I gazed the films with put the box on the desk for several days, then I had mind to work the films.
First, I pick up 100 films in random and ordered to have them developed the size centu-ple at a photoshop. After a couple of days pasted, when these unimaginary negative films I couldn't dare to imagine were revealed to me, the feeling toward them were too calm and alive so that they brought me to the space of fresh poetic inspiration. So much different images from the younger to the youth, the young, the older and the oldest and their seeming gaze toward me unlikely looked at me. They were just stopped into the lens at the moment of their pose to be took pictures.
The direction of my working is to try putting them on the gap between the past and the present when they were real.
The gap between existence and absence, life and death, past and present time and the crack of stuffed past between the places where they lived and color-faded pictures.
1)Make their eyes closed not to allow to be slipped away the light of their souls, over-coloring on the photos
2)Represent the gap between life and death, inspiring warmth on their lips with red color.
3)Let the butterflies fly around their bodies as intermediators or messengertos. These negative images which were doomed to dispose due to the photoshop's shut down told me like ghosts, being blocked in the thin and transparent film because of witch's occult, for tens of years in stoppage.
I gazed the films with put the box on the desk for several days, then I had mind to work the films.
First, I pick up 100 films in random and ordered to have them developed the size centu-ple at a photoshop. After a couple of days pasted, when these unimaginary negative films I couldn't dare to imagine were revealed to me, the feeling toward them were too calm and alive so that they brought me to the space of fresh poetic inspiration. So much different images from the younger to the youth, the young, the older and the oldest and their seeming gaze toward me unlikely looked at me. They were just stopped into the lens at the moment of their pose to be took pictures.
The direction of my working is to try putting them on the gap between the past and the present when they were real.
The gap between existence and absence, life and death, past and present time and the crack of stuffed past between the places where they lived and color-faded pictures.
1)Make their eyes closed not to allow to be slipped away the light of their souls, over-coloring on the photos
2)Represent the gap between life and death, inspiring warmth on their lips with red color.
3)Let the butterflies fly around their bodies as intermediators or messengers, or let them land on the persons bodies.
4)Let them sink into the transparent and thick solid matter which is symbolized of fade and stopped time.
5)My reconstruction of 'The meditation of 49 persons' were ended up with shutting-in their stuffed time into the thin and solid iron-made cubicle.