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.
2018 #believe Ⅱ
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관리자 2018-08-21 10:59
We Need the Old Magic, Acrylic on canvas, 100 x 100 cm, 2018
The Disappeared Ⅰ, 3D epoxy resin and acrylic paint, 130 cm, 2018
The Disappeared Ⅱ, 3D epoxyresin and acrylic paint, 116 cm, 2018
A Space Philosophy, Digital colour print, 118.9 x 84.1 cm, 2018, All courtesy of the artist and Hauser & Wirth
Andy HOPE 1930,
#believe Ⅱ
We Need the Old Magic
The Disappeared Ⅰ
Sanctuary
The Disappeared Ⅱ
A Space Philosophy
The suite of six works created in 2018, on show at the former Bank of Korea building, are a case in point. We Need the Old Magic is a purposefully clumsy depiction of a robotic sheep, placed in a black square on a white background. Kazimir Malevich’s famous Black Square of 1915 is often described as a purely formalist endpoint of painting, yet it was conceived within a much more complex, and not only formalist setting, for example referencing religious icon paintings. Andy Hope 1930’s blunt addition also undermines formalism, as it clearly references Philip K. Dick’s novel Do Androids Sream of Electric Sheep? (1968), famously turned into the movies Blade Runner (1982) and Blade Runner 2049 (2017). Here, separate space-time dimensions collide; quite literally this occurs in the painting #believe II, where we see what looks like a cosmic storm or black hole through the outline of a garbage can. Similarly, two ominous, 3D-printed sculptures at first may look like generic, totem-like objects, a kind of surreally playful version of Brancusi’s work—but they are in fact based on an illustration in a comic from 1950, Strange Adventures, in which an unsuccessful sculptor passes off super weapons from the future which accidentally landed in his studio for his new, radical artworks. In Andy Hope 1930’s work, different dimensions—not least, pop culture and art history, old tricks and new findings—are intertwined in unforeseeable ways.