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 W Sixparty Wrist Watch : D07-02
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관리자 2014-09-16 09:11
2007
Acrylic on canvas
300×400cm
W Sixparty Wrist Watch : D07-02
In Wang Luyan's works, she shows a complex work area (such as surrealism and geometric abstract, minimal and conceptual art) throughout the various layers of art history. Her painting arouses an unfamiliar oddness like an architect's plan or engineer's drawings. It implies the uncanniness of surrealism and at the same time the constructive structure of constructionism, and becomes defunctioned and destructualized through black humor.
This concept of coexistence is fully revealed through a series of clocks. The place called the metaphorical clock with the circle matrix, symbolizes individual and the other, cross-border interrelations and balance, and the structure of power. It expresses the presence state situated in both the sudden diastrophism in the center and surroundings and the unseen structure with the other, in today's mechanical relations of globalism and localism. Also, the harsh movement process that mechanism means reveals the problem of time that one day the fateful time will be arrived. The clock oddly stoped reveals the entropy circulation called the contrast between death and life by the dialectical time of the suspension and movement that the stopped moment as the time hung and imaginary movement coexist, with its melancholy moments through mechanic structure.