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 Evolutionary Space-Variable
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관리자 2014-09-17 20:50
Acrylic and Glass Powder on Canvas
259×194cm
Evolutionary Space-Variable
Temporality of Texture
I generally use mixed materials in terms of the methodology in my work. When using acryl simply with color paints, it feels light like being coated with plastic, which is different from oil painting. Because I think this aspect doesn't fit our inner emotions, I mix glass dust or crushed rock with it. Crushed rock is very rough and sharp and it is not smoothly mixed so I usually use glass dust which is of round particles. It seems like powder but it is actually of small grains. It is well and smoothly mixed with colors. That feeling is more suitable for our emotions compared to using the original acryl paint. As we like doenjang stew (bean paste stew), rusticity in colors better matches our emotions in terms of texture. With all this experience, I've continuously used colors and materials that way since 1990s.