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 Redundant Communication
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관리자 2009-08-28 10:59
Through this surplus communication, extramudane experience and nonproductive activity, that our unconscious desires are made known.
As an architect, the artist has been working on reconstructing the meaning of place in urbanism. He has been interested in the relation of place and experience. He feels that each place has its own properties and immanent possibilities. By maximizing the values of these places, people can experience the space. From the time a city is born, it has its limitations created through functional systemization. It is neither necessary or possible to define a simultaneously built place due to these limitations. With this in mind, the artist attempts to revive the scattered and anonymous city spaces through their peripheral values, and reinforce their peripheral integrated network.
Nowadays, he expands his theory in the networking of urban context and public nature. This methodology, as well as the diversity of the modern metropolis, have the attitude of a sense of being. This concept is being shown in a major urban project in China. This maximization of public and personal nature leads to a dissolution of boundaries and the possibility of network in a living, breathing city. As a result, the city gains sustainability.
The artist works through experience and feeling rather than aesthetics, while engaged in research on sustainable development and the environment. This methodology reinforces weak networks and makes interconnected and reiterated place, public and experience possible.
ⓒCheng Qiming _ Professor, Central Academy of Fine Arts(CAFA)