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.
2014 Furie
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관리자 2014-09-16 10:39
2014
Oil on canvas mounted on canvas
224×174cm
Furie
Deroubaix is a painter who works on paper using collage and gouache. Deroubaix composes his scenes of hermetic symbolism and arcane figuration by articulating formal citations in pictorial spaces whose understanding is guided by the letter and text. His figurative references, body, skeletons, animals, chimeras are camped in metaphysical landscapes punctuated by geometric signs. The result is a single plan that, if it refers to the history of art and painting in particular, questions narrative techniques through images as they were developed in the Middle Ages, while preserving autonomy and introducing new temporalities, such as post-punk grind gore culture. Damien Deroubaix suggests figurative transcripts of a torment that penetrates him, whether personal or universal.