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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.


2016 Untitled

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관리자 2016-08-23 18:09

작가Yu Youhan
Yu Youhan, <Untitled>, Acrylic on canvas, 156x115cm, 1994

[China]
Yu Youhan
Untitled

In Yu Youhan’s painting of the abstract began in the mid-1980s, the “circle” in his image symbolize the multiple forms and self-regulated harmony of the dynamic world. The line techniques of ink painting, color blocks and infinite dots become pure aesthetic enjoyments in different orders and combinations. In the 1990s, Yu has participated in the wave of Political Pop, whose unique style in depicting the portrait of Mao showed playful contention to official ideology. Untitled, Mao seemed to have placed behind layers and layers of frames, that deconstructs and reconstructs the varying environment of a tumultuous period of history. As shown on the image, Yu has adopted an aesthetic methodology that has integrated and overthrown the seemingly dominant visual traditions, while lucidly portraying the political propaganda and social reality at the time. However, this was one of his “momentary exit” – soon after, he returned to making landscape paintings and abstraction, like his “circle”, in constant cycle, that marked the beginning and the end. 
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