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.
2014 Untitled
Read 8,647
관리자 2014-09-16 09:09
2000-2010
Gelitine prints, Kodak Endura
80×80cm each
Untitled
Wolfgang GAFGEN who is a photo artist, draughtsman and engraver, reflects the development of open infinity toward all forms of potential, and has been doing the installation work that creates one scene, using the still objects made of cloth that makes us speculate, or basic materials such as wood, glass and aluminum. GAFGEN says, he himself has been led by ¡?the object introduced in abstract, spiritual space'. The subject is often situated beyond readability. The construction of work has built from a ghostlike or enigmatic motive under the purpose that makes us speculate a descriptive nature, immanence. All of his works are done in the darkroom on the black jungtoji called the stencil of photographic paper with barium sulfate, and ask a question of the parallel universe, the universe called the cause that is exactly divided and transformed, beyond the contemporary vanity with the fatal characteristic that the form of objects as it is cannot be understood.