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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.


2018 Sum in a Point of Time ― Pillars

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관리자 2018-08-21 11:56

작가Min Jeong Seo

Sum in a Point of Time ― Pillars, Styrofoam and wire, Dimensions variable, 2018, Courtesy of the artist


Min Jeong SEO
Sum in a Point of Time ― Pillars

At the Busan Museum of Contemporary Art, Seo brings her approach to architectural installation into the exhibition’s context of divided territories and connected historic trauma with a new, site-specific intervention. Upon entering the exhibition space, a massive structure of toppled columns occupies the space. Here, it seems, there are echoes of the biblical story of Samson who made the temple of the Philistines collapse by pushing against the pillars on which it rested; but also of the allegorical use of the term “pillars of society”, as the Korean peninsula is still haunted by the question of its division and how to come to terms with that history, and as there is a generational
split between the elderly who still experienced war and poverty, and the younger generation whose dominant sentiment seems to be the urge to move on.

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