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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 몽유병자 다섯노인

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관리자 2009-08-27 16:56

작가REN LIU
The primary concern of Liu Ren’s works is not so much with society, politics and history on a grand scale, but rather it revolves around her own emotional life. The abstracted and surreal virtual spaces of her images forcefully conjure up dreamscapes. At the same time, however, Liu Ren’s works are not at all unrelated to her socio-cultural background. It is very important to her to generate a feeling of time and history, often conflated into one abstracted space. Her nods to classical Chinese painting are reflected in the recurring round image format imitating traditional fan painting. Similarly, ancient architecture features in her works repeatedly. But, she stresses, she only uses these tools when it is relevant to express the main subject of her work: her inner world.(All quotes from a personal interview with the artist on April 15th, 2008)
Animals and water are recurring elements in Liu Ren’s artworks. They do not merely serve symbolic functions but are a direct link to the artist herself. It is in the seaside town of her youth that Liu Ren’s sensibilities matured and it is in animals that she feels she can find and reflect the true essence of people’s character. Her works are thus often multi-layered and there are also those instances where an artwork turns out to be much more critical than Liu Ren originally intended.
- Xenia Pich, from Liu Ren ? Recording My Inner World
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