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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.


2014 2277M

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관리자 2014-09-16 09:12

작가Vincent CORPET

1990
Oil on canvas 
180×50cm
C+J Mairet Collection

2277M

Corpet accompanies this understanding of painting and principles of representation as something codified or perverted by acknowledgement. These paintings include life-size naked bodies in front of a colored background, uniquely installed and placed where these bodies submit to gaze and interpretation. Setting new tombstones, they can embody multiple references and temporality. What footprint is more evocative than the body? Its appearance can  allow identification and as a point of unfolding history? While doomed to oblivion and anonymity? Via reflection on the image and non-image, on the sign and meaning, the work of Vincent Corpet reintroduces the unconscious and releases the heart of the painting.
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