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. Evolution and Theory 2. Blackfield
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관리자 2011-04-12 04:06
Unlike Evolution and Theory installed in a way to be seen from one single direction, his Black Field, which has been touring to many different places in the world since 2004, allows one to see it from both its front and rear. Over the floor of sand in a rectangular space are standing thousands of thinnest silhouettes of plants. From itsfront, it is all black suggesting the world of death as if it was an aftermath of a nuclear war. On the contrary, the back of the plants’silhouettes is painted in a range of colors, and as the viewers walk by in slow steps, it transforms itself a space in which varieties of colors roll in chorus. The space exuberant with plants is filled with life force. In Black Field the cheerful and gay color contrasts are befittingly descriptive of life and death through the unification of before and after.