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.
2012 Out There
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관리자 2013-03-25 10:16
Out There
OCEAN SKIRT AND OUT THERE
Rhythm and flow play an important part in the two works Choi chose to contribute to “Garden of Learning”.
Ocean Skirt, located on the 2nd floor above the entrance hall, is an automated, moving device. While curtains were employed as autonomous formal elements in 20th century exhibition design (at Cafe Samt & Seide [Coffee Velvet & Silk], which was jointly conceived by Lilly Reich and Ludwig Mies van der Rohe in 1927, the open space was partitioned solely by a system of free-hanging curtains), Choi’s installation turns the curtain into a dynamic element. Based on a choreography that was written by the artist, the curtain performs an inaccurate translation between the waves that hit Haeundae Beach in Busan and the mechanics of the machine, thus generating a modular pattern that determines both the curtain’s movements and the intervals of rest between them.Five slide projections show images of particular places in Busan, all photographs that the artist has taken and collected over the years. This archive is interspersed with new pictures taken recently at the same sites, thus giving an account of changes befalling the Korean environment, but also hinting at a biographical narrative that is interwoven with the chain of images and the particular framing of each site.