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 일시적인 광기
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관리자 2009-08-27 17:12
Since 2000, Pinaree Sanpitak’s artworks have become more interactive and explore the humor, the fragility and the vigor of the senses through sight, touch, sound, scent and taste..
Temporary Insanity is comprised of soft silk sculptures combined with hidden sound sensors that react to sounds of the audience and make them undulate. The field of intensely colored large soft objects, combined with the surprise of movement, enables the participants to play and immerse themselves in sensation and to observe.
Discussing Pinaree's work, Iola Lenzi wrote :
“Much of Pinaree’s work possesses a sculptural, organic, abstracted quality. In … the last several years, her breast images have been assimilated with vessels and stupas, both key icons of the Buddhist faith. But the intention is not so much a religious reference as an identification,…., with the humanity at the heart of all faiths, as well an oblique look at Asian cultural renewal through the re-interpretation of indigenous emblems.”
- FM