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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.


2006 Ocean Dragon

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관리자 2009-08-27 09:49

작가Joaquin Gasgonia Palencia
Ocean Dragon brings one of the most ubiquitous cultural icons of Asia―the dragon―into a modern dialectic with a new and progressive society. It finds a novel and proper use for an ancient symbol of good luck, potency and prosperity; and situates the interphase of this experience in the everyday life of people, stressing close and trusting interaction between the audience and the public art. Ocean Dragon impacts on the audience in three ways―the first, on the aesthetic enjoyment of colors as well as the undulating forms mirroring the movement of the waves; the second, in its functional use as a sidewalk bench for rest and recreation; and the third, in the cultural memory of the dragon and its meanings in Korean culture.
My intention is to create a public art/furniture that incorporates what it is to be Asian with a common artifact of present-day society, allowing the audience to relate to it on many different levels―as art, as furniture, as visual feast and as a cultural badge. (Assisted by Coltrans.)
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