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 Hsu Chia-Wei
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관리자 2022-12-16 14:15
b. 1983, Taichung, Taiwan
Lives in Taipei, Taiwan
Based on questions related to cultural contact and colonization in Asia, Hsu Chia-Wei connects key narratives with non-human actors, including technology, animals, and the environment. The focus in his work is on how circuits are established among incidents beyond the camera in places that are deeply rooted in reality yet fall aside of history’s frame, with the complex aspects of those incidents manifesting through the relationships of various objects, people, and places that have been excised from the typical historical narratives. Presenting his work at events such as MAM Screen 009: Hsu Chia-Wei (Mori Art Museum, Tokyo, 2018), the 12th Gwangju Biennale (2018), and the Taiwan Pavilion at the 55th Venice Biennale (2013), Hsu focuses on the stories concealed within the history of colonial-era Asia, amplifying the complexities associated with them through variations involving mythology and reality, fiction and documentary, or past and present.