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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 Endless : A Project for Busan Biennale 2010

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관리자 2011-04-11 22:55

작가Shun YUAN
The overwhelming grandeur of his work has originated in the influence of classical art based on the thoughts of Buddhism such as landscape painting, dwarf trees, and Mandara painting, Chinese architectures of gigantic scale exemplified by the Great Wall of China, and further the eternally continuing circle of life and death and the perpetual time of the soul in the reiteration of samsara. Only that such a perspective of his toward scale is characterized by the extension of China’s peculiar, majestic view of the notions of nature and time. It is, therefore, rather unsatisfactory to designate simply the word ‘abysmal’ to his view of the universe.
Endless: Project for Busan Biennale 2010 consists of diverse elements: drawings of his own making that are reminiscent of such things as Mandara and the universe; display stands on which everyday objects are exhibited as if they were ancient relics; photos of the surface of a virtual planet (or satellite), which is an assembly of such daily objects. The conjunctions of the ancient and the future and the scientific and the natural obey the laws unknown to us as the universe is present in the everyday life, and this imagination owes to the drawings, photographs and objects of Shun YUAN that can be integrated into a world in a SF novel.

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