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Busan Biennale 2004

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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.


2006 One, Cutting off All New Branches Leaving One, London

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관리자 2009-08-26 16:24

작가Wolfgang Breuer
WOLFGANG BREUER creates small-scale interventions in the public sphere, altering or adding to existing elements of urban space such as benches, grills, and plants, in order to compose compelling, new images. These semi-private investigations in and of public space have led him to, for example, spray silver paint onto walls to increase the reflection of the sun and thereby improve the growing conditions for weeds of to cut bushes in a particular shape as a king of 'plant graffiti'. For his series Stained Glass Pictures(2005), Breuer placed berries in patterned security screens installed in front of windows to prevent people from accessing derelict buildings in London's East End. Breuer's poignant interventions transform these symbols of aggressive urban control into decorative picture planes.
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