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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.


2014 Tetraphillia

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관리자 2014-09-16 17:21

작가Nadim Abbas


2013
Installation detail, mixed media installation
dimensions variable

Tetraphillia


2014
Kinetic  Lightbox w/ Duratran print and aluminium window frames
70x85x15cm

Cataract (Victoria)


Tetraphilia tells the story of a word, not just by stringing together more words, but also with objects, images, tastes and sounds. It marks a concerted effort to move away from prescriptive meanings, subjecting the thought process to the peculiar logic of material life, as well as the avalanche of information that our contemporary age indulges even the most trivial of things (tetra-trivia).

The setting is both typical yet ambiguous, mingling the neurotic obsessions of the hobbyist with the floor plan of a swimming pool cum landscape garden. It is here that the sublime and the kitsch are reunited in sacred matrimony, and it is here that I have attempted to plumb the formless articulations that govern the workings of the ineffable.

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