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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 Viewing from Chernobyl, Ukraine (Pictures of Air)

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관리자 2014-09-16 09:13

작가Vik MUNIZ

2001
Cibachrome
158×126.5cm
Courtesy of Xippas galleries

Viewing from Chernobyl, Ukraine (Pictures of Air)

Photographer, installation artist, and  sculptor, his mediums arranges are diverse and unexpected. Vik Muniz seeks to reproduce the masterpieces of painting or media images. He makes these images by using recycled materials such as newspaper, wood, dirt, cigarette butts. Or organic materials like sugar, chocolate, red fruit coulis, and liquids or solid foods. These materials allow him to move icons between empty and full. He models his subjects with the properties of color inherent in the materials that were used. He collects these materials for recycling reasons, and disturbs it¡¯s a priori authority as he overturns the status and its symbolical materialistic value.
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