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 We forget easily
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관리자 2014-09-17 19:57
Mixed media on canvas
194×520cm
We forget easily
Hand that Seeks Balance
When I drew paintings, it was a time of art for the general public and modernism art crashing each other so artists my age hesitated which to choose. I think it would be better at that time than it is now because we had to choose one only from the two options. There were still propaganda painters in provinces but they were not the mainstream. Everyone should choose one and I was sure that the former and its direction would be more necessary for more people and I still think that way. However, issues like form and personal preference like seeking a sophisticated and high-level sense of beauty were based on modernism, I think. I expressed problems in modernism, which only a few were limitedly aware, as 'exclusive monopoly of information.' It seemed to be a very bad attitude to me that information could be obtained and understood only by a few elites so I thought of how I let many people know that and did good for them in a novel form.