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 Growing
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관리자 2014-09-16 09:18
2013
Cast bronze
57×35×50cm
Edition 2/3
Growing
Sui Jianguo metaphorically expresses both the materiality of sculpture media and the concept of reproduction over various layers. Jianguo's work world has opened up the combination of minimal and conceptual art, pop art and surrealism art.
Sui Jianguo shows it a little more complexly in three-dimensional space through the relations among the objectness of sculpture, body and movement. The informal figure revealed as if old memories were created by the artist's hand with eye-closed condition, shows the process of creating a sculpture by tactile mutuality with the artist's body. It implies the time, and its movement and rhythm that the momentary transfer into the tactile, visual trace by the momentary and impulsive hand touch reveals, shows the ambiguous and coincidental image formed between deconstruction and construction.