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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.


2014 To Breathe: Mandala

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관리자 2014-09-16 10:07

작가Kimsooja

Single channel mixed media sound installation in circular room, jukebox speaker with the artists voice performance The Weaving Factory, 2004,
Duration: 9 min. 14 sec.
Courtesy of Kukje Gallery, Seoul & Kimsooja Studio

To Breathe: Mandala

Kimsooja’s works of photography, performance, video, installation, and site-specific art surpass the boundaries of various genres of medium, as well as reveal entropic existence of transience, presence, and essence of disappearance. De-territorializing process of the pronominal usage of ‘bottaris,’ to describe non-existence of location and meaning of nomadic life, is an essential concept of the artist’s entire works.
The presented work in the Busan Biennale, “To Breathe: Mandala” is an installation art that compresses the mandala’s religious and cultural level of multilayered symbol and its meaning of circulation and eternal cycle, and signification of eternity. Her delicate presence asks synesthetic questions of the non-visible energy in an empty space, the exact moment and eternity, and the body of the audiences’ subconscious relationship to the work, and the dichotomous relationship of realizing that one is its own individual in the universe.
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