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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.


Shin Hakchul

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BB2024 2024-11-27 17:59

Shin Hakchul
Shin Hakchul was born in Gimcheon, North Gyeongsang Province. He initially dreamt of becoming a farmer but became an artist; and became a significant part of the Minjung Art movement which linked art making to socio-political commentary. He experiments with various forms including applying photomontage and objects to large canvases as well as painting elaborate scenes to depict the sorrows and hopes of the minjung (the public). He collects images of modern and contemporary Korean history from diverse media to make his work and emphasises reality by using actual photographs of historical events as documentary evidence which emits the moments of oppression in the occupation era, the exhilaration of liberation, the horrors of war, the pain of division, and the turmoil of postwar politics and society evident in Korean history.
 
 
 
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