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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 마오-핸드폰과 사람들

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관리자 2009-08-27 17:26

작가YANG QIAN
The composition and theoretical origin of Yang Qian’s “double painting” are in fact commonly found in the West, yet, is a rarely explored concept in China, that is, the concept of “layers” in contemporary art. The concept of “layers” thus becomes incorporated with the “environment” of the artwork. As the lighting in the exhibition space changes, layers found in these paintings become more apparent, and the images are tampered, thus our preconceived ideas of painting began to be challenged. “Double painting” in fact further expands on the “layers” of Yang’s earlier works. With the combination of photography and painting, the concept of layer was used to subvert the uniformity of the image, which implies its relevant cultural meanings, whereas “double painting” subverts the audience’s “point of view” on painting. In front of these constantly shifting artworks, we realize the root of images has been shaken, and the imagery is conflicted in one uniform composition. Yang Qian’s “double painting” elevates the concept of layer from stillness to motion.
Without a doubt, Yang Qian’s “double-painting” subverts our superstition of “uniformity” with our own ideas of images, knowledge and system of symbols. “Double painting” intentionally blurs the boundary of painting - a runaway from painting, its concept is not to dissolve painting, but resides in eliminating the hindrance on painting from an existing system. At the same time, its duality also reveals one’s uncertainty and dispelling of subjectivity of the image. It is also in at this level of meaning that they overlap between concept and painting, image and acknowledgement, reality and art.
-Pi Li, from Beyond Overlapping Images
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