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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.


2010 Sea. Sky. City. Human

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관리자 2011-04-11 22:29

작가Park Sung Tae
I stepped into his studio to see the works he was preparing for this exhibition, there was a structure of horizontality and verticality and form of human body reflected by the light and its shadow. The horizontality and verticality is the lattice of universe and the human body form and shadow represent the separation and union of the material and spiritual. The space, in where bodies hang, is unfamiliar. That space seemed to belong in the universe, not in the reality, and appeared to be that of four-dimensional world rather than of three-dimensional world. In that space, luminous materials were hung as if dried bodies resist. No, it would be more appropriate to say that they were floating in the air, instead of hung in there. His body, which was concentrating on directing the photo shoot, was moving in the midst of those works. He ties up the time and space with a line of latitude and longitude, and arranged virtual human bodies on it. The means that connects the moving actuality and unmoving virtually is the light. Light is an important factor that makes the contrast and correspondence within the work. The shadow is created by the light, and also vanished by it. Light formatively vitalizes his rooms, making them vibrant with energy. In the boundary of transposition of physical phenomenon to vital phenomenon, his formative sense hangs in.
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