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 The Circulation of Circus
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관리자 2005-10-12 16:34
Visitors here at biennale end up into a virtual and artificial park, going into a cube that beautiful flowers crawl like worms. Five planes(walls and ceilings) get covered different flowers per one dimension, these many kinds of colorful flowers existing like only one species as well as these flowers are represented repetition and are relocated, a few of flowers being copied to several ones. These are concocted ones, not natural ones containing the ecstasy and aroma of life, and attractive pose, that are imitated the desire of nature and make five controlled and tamed gardens.
These spaces are our temptational desire like a hopeless and non-prospecting black hole, the rooms of greediness that we could raise and organize the nature and these are the duplicated spaces that quasi mocks authenticity and fake reveals the helplessness of real stuff.
The another fantastic circus in the fantasy presented visual ecstasy with excessive but, in the middle of the modern age, the heroes get alienated out of the world, the bodies of the natural being replaced to quasi-fleshy bodies.