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Busan Biennale 2018

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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.


2008 W 새장 스위치 D08-1, W탱크: D08-1

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관리자 2009-08-27 17:18

작가WANG LUYAN
Yet the artist is far from being a mere crowd pleaser. Many of his images have to do with reciprocal, suicidal violence, in which guns and tanks have two ammunition chambers, so that the person firing the bullets and shells is not only shooting at the enemy, he is also shooting at himself. Wang treats the cyclical tragedy of violence, which maims, physically and metaphysically, those who take part in its destructiveness, by imaging its terrible absurdity. It helps that Wang’s hand is utterly transparent, in that he pictures his theme with a minimum of fuss: there are no real gestures in his paintings, which usually take on the attributes of a mechanical drawing. Simplified, more or less, into schematic diagram, Wang’s tank and rifles are memorable simply for having been chosen by the artist. Wang also draws, disturbingly enough, a syringe filled with blood. It is hard for a Westerner not to take this image as a reference to AIDS, which increasingly is a problem in China. While Wang is not making a clear allusion to AIDS as the current medical scourge of the world, his very choice of the syringe as a subject matter makes it known that he has given a nod toward a medical issue of extreme significance.

- Jonathan Goodman, from New Objects for a New China
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