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.
2022 Francisco Camacho Herrera, Beob In
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관리자 2022-12-16 14:11
Journey to Paradise, 2022, Singlechannel 4K video, 49min. 17sec.
The Social Archive of Rubber Industry, 1890 –, Photographic material, Dimension variable. Courtesy of the Association for Sprit Succession of Democratic Martyre Busan Gyeongnam Ulsan Regional Council and the Royal Museum for Central Africa.
b. 1979, Bogota, Colombia
Lives in Amsterdam, Netherlands
The aim of Francisco Camacho Herrera’s work is to combine social activity and participatory art to create outcomes that not only influence different communities but can also be applied to reality. Recently, he has been focusing on the synchronic and diachronic intersections of colonial history, using multiple layers of research to express the relationship between colonial history and culture in South America and Asia. His major group exhibitions include Participation Mystique (Ming Contemporary Art Museum, Shanghai, 2020), the 5th Ural Industrial Biennial (Yekaterinburg, 2019), the 21st Biennale of Sydney (2018), and Towards Mysterious Realities (Total Museum, Seoul, 2018).
b. 1962, Gongju, South Korea
Lives in Suwon, South Korea
A native of the region of Korea near Mt. Gyeryong in Gongju, South Chungcheong Province, Beob In grew up with nature and has constantly looked to nature to find material for his artistic work. As an art student majoring in pottery, he used Korea’s traditional fruits, roots, and various types of soil as key materials. After entering the Buddhist priesthood in 1990, he was initiated into Buddhist art. He now creates altar paintings (known as taenghwa in Korea) that make use of materials such as the red clay of Seosan, the white clay of Gangjin, the soil of Sancheon, the fruit of the alder tree, gardenia seeds, and winter kudzu. An award winner at the 1987 National Art Exhibition, he received runner-up honors at the 2019 Grand Art Exhibition of Korean Buddhism and has completed qualification for National Intangible Cultural Property No. 118 (Buddhist painting).