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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 Handmade fantasy

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관리자 2016-08-23 10:59

작가YUN Pilnam
YUN Pilnam, <Handmade fantasy>, Mixed midea, Dimension variable, 2016

YUN Pilnam
Handmade fantasy

When a small fingerprint meets a smartphone, everything unfolds before the eyes. They are worlds visible through the eyes and visible in the mind. All kinds of floating words and texts trapped in a small frame have universal power in them but they get easily permeated, tainted and fade away. Just as yellow dust covers the world with dust, the world is full of texts and images. While we pay attention to the light, sound, taste and touch from the outside, our daily lives are shattered into pieces and blinks like a broken lamp. At some point, manual labor which requires movement of the body as well as time and effort is losing its precious value. Labor today is something that has become very exhausting, delayed in the interference of a terminal, and is finally left unfinished. The body becomes a heavy weight in the awakening of the mind, and the spirit becomes noise in inertia of the body. Nevertheless, the artist argues that the power that actually moves and restores the world comes from manual labor. Yun Pilnam aspires to state that we should seek the flow of daily lives that does not pool from manual labor which never stops moving. 
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