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 Departure Songs
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관리자 2014-09-17 21:22
Single channel video, Sound
6´41´´
Departure Songs
Quality of Time
I submitted a video work to 2010 Liverpool Biennale which was based on performance with a family on a motorcycle. It was also done in countryside of China. What I felt from China was not only present social phenomena in China but one of phenomena around the world which had continued since industrialization. We all are aware of it and I see that coming clearly in a very short time. Seeing a family of 3, 4, 5 or even 6 is on a fast two-seater motorcycle sometimes with a baby on mom's side, I realize they would soon disappear. Young people left their hometown and clans were destroyed as skyscrapers were constructed in Shanghai that time, which had been the same in Europe. Sound of motorcycle was like one voice of families. So I asked families to face forward and not to turn off the engine in front of a calm reservoir as if they took a picture. Ten families joined my work. Thus, the title <Departure Songs> is to express their leaving.