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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.


2010 1. Head Series-Award 2. Head Series-Book 3. Head Series-Fingers 4. Head Series-Pocket 5. Head Series-The zodiac 6. Head Series-Architectu

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관리자 2011-04-11 22:07

작가Kim Jung-Myung
The lives and desires of us are paradoxically revealed by his witty twists of the histories of world art and human civilization. His ways of revealing them are hinted with Pop Art‐like and humorous hues and imbued with a conceptualist attitude and yet do not neglect to find fitting methods to construct forms in his approach to formal ingredients. Having coherently attached emphasis to the objecthood of material and manual work, Kim shows at this biennale the ‘Head’ Series, a groups of bronze sculptures produced through several years long art‐making process. In these works of his in the form of human head are conveyed as follows: architectures of wonder made by human hands; animal instincts and the pleasure of sex; awards and books reflective of intellectuality and social desires; tables of constellations and the twelve horary signs controlling the world and human fate; religion; pockets and fingers as the arenas for thinking that are filled up and emptied out; trashes as the products of desires and surpluses. The installations of these works on the Gwangalli Beach make one to be reminded of such ruins as the Moai statues on Easter Island or Stonehenge, and they are clearly among his major works in terms both of scale and content. Despite the heaviness generated by his use of bronze and their monumental scale, his distinctive wits and daily objects are hidden here and there. The viewers can have pleasant experiences by moving towards the works as closely as possible so as to find what are hidden.

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