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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 Installation with Sand, Chairs, Buckets and Water

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관리자 2016-08-23 11:19

작가Roman SIGNER
Roman SIGNER, <Installation with Sand, Chairs, Buckets and Water>, Sand, Chairs, buckets, Water, cable, 400x1200x600cm, 2016

Roman SIGNER
Installation with Sand, Chairs, Buckets and Water

The artistic events that Roman Signer constructs for us are based on process, play, experiment and wonder. His materials are elemental physical phenomena-observations all the more astonishing in view of the humor that informs this artist’s oeuvre. These elements show that amazing world of humor. It is an extremely subtle brand of humor yet to be discovered by the art world. The serenity, clarity, and lightness of Signer’s actions impress us. They are devoid of the tautological leadenness of certain art in the seventies that agonized righteously in an attempt to demonstrate that water flows and a chair is a chair. Signer’s gestures are not heroic, although, appearing as a dramaturge of suspense, he causes an explosive release, even a psychosensual detonation. He does not fill the expected role of the ingenious, individualist artist but he draws attention to an object by discovering and releasing its startling, unsuspected potential. We know about the possibilities of ordinary spray cans and rubber boots and bicycles and kitchen chairs, but we also learn how limited are both the horizon of our knowledge and our relationship to the things of this world.
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