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 Rite
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관리자 2014-09-17 21:12
Oil on canvas
162×130cm
Rite
Acrylic and oil on canvas
162×130cm
Recurrence
First Biennale Man
I only painted few drawings in college before Korean War broke out. I managed to survive the war. I gathered up my friends as wild animals do to make clubs like <Modern Art Association> or <Arc Duel> and open exhibitions. I worked hard. Looking back on it, I was very promising. We obtained information on Informel for paintings and discussed Informel very much so the clubs were almost obsessive about Informel because the war had just ended. My works that time were of abstract expressionism and then dark ones like death, ancestral rite came up. Fautrier was our idol back then. He made hostages and people beaten by a tank and thinly painted them. It was innovative in a formative sense but my memory of seeing young man's head crushed by a tank during Korean War was deep in my head for my entire life. Thus, the works painted back then were titled as <Ancestral Rite>.