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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 Coming Home/ Death and Exile/The Healing Garden/Vansittart Island

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관리자 2009-08-26 17:08

작가Ricky Maynard
LIVING AND WORKING on flinders Island between the mainland Australia and Tasmania, Ricky Maynard began to teach himself photography at the age of sixteen, and received The Photographer of the Year Award in 1985. Capturing the landscape of Tasmania and the aboriginal people of African descent through close collaboration with the local community, Maynard\'s work is a progressive representation of the aboriginals. His photographic images re accompanied by the aboriginals oral narratives of their history in the form of text. Such imagistic and narrative documents of the history re not only poetic and powerful works of art but also become documents of specific cultural and sociological research. For this edition of Busan Biennale, Maynard produced large billboards based on four pieces from the series Portrait of the Distant Land and installed them outdoors.
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