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. On the Earth - Tibet2. On the Earth - Himalaya
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관리자 2011-04-11 22:56
Lim makes acquaintance and sympathizes with children through volunteer works before start making her artworks and her experiences are integrated into her art, and this process was performed by the artist for her ‘Tibet’ Series too shown in this biennale. In her works can be detected her humanitarian concerns about something unsophisticated and natural, peace and reconciliation beyond the external images. It can also be comprehended that a new dimension her critical viewpoint has spread to a new dimension from political and social matters in which she had interest since her college years when she witnessed the unstable political conditions of the 1980s. This is reflective of Lim’s humanitarian attitude toward the realities and ideals of nature, the human, coexistence and peace beyond the fetters of commonplace vulgarities.