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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.


2016 between desire and universe

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관리자 2016-08-23 13:10

작가KIM Hak-J
KIM Hak-J, <between desire and universe>, mixed media, HD video, sound, 340x1000x500xcm, 01'23", 2016

KIM Hak-J
between desire and universe

Kim Hak-J poses a question ‘has swarm intelligence of the world truly gained sympathy and moving in the right direction?’ Humanity leaves traces of its vulnerability at each period in history so that it is not an exaggeration to describe history of humanity the ‘history of desire’. The forms best values represented by swarm intelligence of today adopt can be defined as technology that are rapidly developing and our ensuing presence in space. The artist seeks to express consolidation of the world’s intelligence for the obtainment of such values and the dark shadow of desire hidden behind conflicts. A fake satellite is installed on the floor and the wall like a tomb, and photographs attached to the wings of the satellite present iconic codes for ‘schizophrenic phenomena’ and ‘desire’ which are premised on the free flow of monetary capital of the ‘capitalistic machine’, the only society that is premised on decoded flow as proposed by Gilles Deleuze and Felix Guattari. Images of a robot taking a lonesome walk in vast space and a human are projected on the surface of the wall to create an atmosphere that is ‘implied’ on the whole. Pop music pioneer David Bowie’s ‘Space oddity’ which is about communicating with an alien and 10 CC’s ‘I’m not in love’are cross cut and played.
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