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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.


2014 Aggregation08-SE024BLUE

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관리자 2014-09-17 21:23

작가Chun Kwangyoung


Mixed Media with Korean Mulberry paper
202×362cm

Aggregation08-SE024BLUE


Success and Victory
I think I maybe speak my definition even in a vague sense after going through all those paths as an artist. With a silent work of no words, phrases like 'Good,' 'Colorful' or 'It's beautiful' are not good enough. A work which cannot explain anything to audience is dead, I think. Whether a work is remarkably outstanding to one's physical eyes doesn't matter. I think a good work should be able to tell honest and logic stories to audience.
Westerners ask me a question like "There are many things packed in the work. What things are in it?" Then I answer "In terms of hardware, it is styrofoam. It does not rot and can be used for packing even 100 or 200 years later. But it is just the use of my work. What do I pack? I pack our people's soul."

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