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 1. Eye series 2. Organic Concept
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관리자 2011-04-20 22:57
jellyfishes floating in their contraction movements, not fishes, are in fact artifacts made of everyday sundries such as plastic airtight containers like Tupper ware products, night lighting fixtures with sensors, plastic zippers, electric wires, water pumps, vinyl bags, cooling fans for computers and cheap dolls with motors. The combination of these miscellaneous articles represents a micro-universe in which organic creatures are living. Being operated not merely by mechanical power but by the low-techs such as water, air and light, these creatures create an air of fantasy in spite of the boorishness of those components.
Huang’s installations acquired a more fascinating coloring after his inquiry into the theme of bioluminescence in sea creature and insects during his participation in the research fellowship program at the Smithsonian’s Museum of Natural History in 2009. Yet these effects of lighting in his works have been based on the coherently operating sensor system employed since his early artistic efforts. The eyeballs of the blinking eyes move side to side, and when the sensor attached to the monitor detects the white part of the pupil, light comes on and when it does the black part of it, light comes off. This simple basic principle activates the whole of his ecosystem. Accordingly, it informs us that our optic angle toward nature itself can give rise to the horrible transmutations of the ecosystemas the eyesight functions the energy source of all things.