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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.


2008 Membrane, plastic sheets, microphones, video cameras, video projections, lasers, variable dimensions, 2008

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관리자 2009-08-28 10:15

작가Dieter Kunz
The investigation of the system character of space is a main subject of my work. This implicates an active role of the viewer or visitor in my installations. His position in relation to space is essential. The word position here is not static but dynamic in a physical and theoretical sense.
Position requires information from and communication with the environment. This implicates all perception processes in a room a city or a landscape.
Starting with the analysis of working processes and their transformation in spatial structures my work has connections to classical sculpture. The definition of surfaces, their transformation into information carriers with different layers of reality offers an interface to the viewer.
As division or connection elements surfaces describe and finally trigger communication processes of different systems (space/object/human) between each other and with the visitor.
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