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Busan Biennale 2006

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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 Distortion of Swallow

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관리자 2009-08-27 17:11

작가SAM SU Meng-Hung
My creative work has been geared to reveal the inherent absurdity in the presentations of all that appear to be rich, beautiful and extravagant in the traditional more acceptable art forms, reinterpreting them with my own vision. Sam su meng-hung
「Sam boldly generates appropriations of classical motifs by exploiting them freely with great dexterity. He refreshes the past merrily and liberally, and embraces heterogeneous cultures, absorbing his surroundings like a sponge. What is impressive is that his work appears light-hearted, interesting, and liberal, without being confined to a frame, while maintaining its seriousness. Although his work is easily to enjoy, viewers must look at Chinese classical painting, as his work sits on its shoulder. If we figure out this giant, we can better understand Sam’s work. 」
- Shin Bo-seul, from 4th Goyang Open Studio Hand Book
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