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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 Already Peacefully Existing Here as Always.

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관리자 2016-08-23 11:12

작가SONG Kicheol
SONG Kicheol, <Already Peacefully Existing Here as Always.>, Mixed midea, variable, 2016

SONG Kicheol
Already Peacefully Existing Here as Always.

Looking at the dead bodies of children washed to the shore, I feel in my bones that we are living in a free but not an entirely free world. Those that can freely move across territorial barriers are non-living things. Such barriers exist like invisible ghosts between territories, territory and life, and lives. They separate us endlessly and disable us in confronting the real hostilities. This separation is not the same as Apartheid, the notorious racial segregation of Republic of South Africa in the past. <Already Peacefully Existing Here as Always>(2016) visualizes the fundamental principles of iron bars installed on the walls that enabled separation with unknown neighbors and protection of private property rights. By doing so, it enables the confrontation with ghostly Apartheid. A video of a man escaping from a disaster through a window and a tree hanging in the air with its roots burnt up, a photograph that reveals the hidden weight of the scales of a balance enable the coexistence of hostilities and create works of organizing a new life in the current situation in which the residues of such coexistence are maintained. 
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