스킵네비게이션

Archive

Busan Biennale 2018

이전메뉴 다음메뉴
ArchiveBusan BiennaleBusan Biennale 2018Artists & ArtworksMuseum of Contemporary Art Busan

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.


2002 RUSA

Read 14,470

관리자 2005-10-12 13:36

작가Hess, Nic
Mass commodities and company logos in the society of consumerism and information appeared as highlighted subject matters of art in the 21th century. Globalism brought multinational company’s logo to a Esperanto. To the logo’s font, image, and color did a specific meaning get added. Puma, camel, rabbit and alligator no longer stand for their original entities and any logo written with a peculiar font is saturated with commodities and company image. Nic Hess wants to narrate something new by means of his wall drawing with color tapes referring to company logos and trademarks. For the artist, consumerism is more than a commodity; logo is a sign which signifies multiple meanings, and an aesthetic object which shows a highlight of today’s design.
TOP