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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.


Fred Bervoets

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BB2024 2024-11-29 10:37

Fred Bervoets

Mijn Stad 1, 1997, single-print etching on paper, heightened in acrylic paint, 212x292cm. Courtesy of Paula De Graef.

Mijn Stad 2, 1997, single-print etching on paper, heightened in acrylic paint, 212x292cm. Courtesy of Paula De Graef.

Mijn Stad 3, 1997, single-print etching on paper, heightened in acrylic paint, 212x292cm. Courtesy of Paula De Graef.
 
Fred Bervoets’ 3 monumental etchings heightened with acrylic colour hues, Mijn Stad (My City, 1997), depict intense urban scenes mixing contemporary and historical, oftentimes semi-invented fait-divers* in a style that is poised between post-Cobra and narrative folk painting. Bervoets ‘paints’ his etchings with nitric acid in zinc printing plates. The prints from a base to be finished and overpainted afterwards, playing with repetition and difference as the plates can be printed again, allowing other versions. Based on his own life and environment, full of anecdotal references and reminiscences, his James Ensor-like mishmash of self-mockery and irony forms an idiosyncratic anarchist visual syntax. Dozens of ‘self-portrait men’ perform a wide variety of aggressive and artistic actions in a crowded frame that here and there contains references to the houses and streets to the old European harbour city Antwerp. Overcrowded, almost old-fashioned ‘visual reservoirs’ like Mijn Stad reminisce of Flemish 16th Century artist Pieter Bruegel earlier compositions and give the series the effect of a monumental colouring book. Bervoets’ vision of the world is congested and ramshackle, paired with a visual horror vacui prompting a certain compositional resistance.
*fait-divers: A term used in journalism to describe news articles that report on incidents or accidents without political or social interpretation, focusing instead on specific details. Fait divers typically involves events familiar to media consumers, such as kidnappings, crimes, assassinations, earthquakes, train derailments, thefts, and robberies. These articles are often driven by sensational motives, aiming to arouse curiosity and shock readers, and they represent a genre of reporting where the meaning is reconstructed through the process of writing and editing.
 
 
 
 
 
Fred Bervoets
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