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 Suppenkaspar
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관리자 2014-09-16 10:31
2007
Wood, nylon, steel
75×130×80cm
Suppenkaspar
Farsen Schollhamer is a Berlin-based creative collective with two members (Nina Farsen and Isabelle Grupp – Schöllhammer) who created the collective after graduating from art school in Berlin in 2007. Use of gravity and subversive act are pursued in their works in order to create new and distinct formal language through everyday objects. Their practice is concentrated in the sketch of an object and the study of materials. Trying to minimize the territory between conventional design and other forms of fine art, they raise questions of the principle of physics and mechanism of material that defines the possibility or the impossibility of design territory. Their work, Suppenkaspar, is a table with two 10 kg pendulums, instead of two legs. The tear-shaped,golden pendulums are hung with almost invisible thread. The work offers an experience that tests our sense of balance and turns the safety of an object into uncertain tension.