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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.


2006 Momentary

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관리자 2009-08-26 16:42

작가BankMalbekRau
BANKMALBEKRAU IS a Danish artists collective that includes three women artists: Lone Bank, Christina Malbek, and Tanja Rau. They use easily accessible materials such as tiles, printing paper, strawboard, MDF, and produce objects, banners, prints, and colleges that are sophisticated and visually appealing. They are interested in historically specific forms of representation, such as those of Baroque and Renaissance. However, the images of various contemporary everyday objects and the graphic elements that appear differently depending on viewpoints command visual trickery that challenges the perceptive habits of the audience. As such, while their work is filled with social and cultural emblems and riddles, it also appears to be simple and transparent t formal level. These two morphological tensions are the elements that BankMalbekRau deploys in expanding the game of amplifying the complexity of meanings in their work.
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