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.
Read 387
BB2024 2024-11-29 14:12
Snow, 2001/2024, pigments, dimension variable.
Carla Arocha’s Snow (2003/2024) is a wall in the exhibition space that remains provocatively white until one’s gaze starts to discern three almost invisible hues of colour. However, upon closer inspection, doubt arises about whether the hues, akin to mouches volantes (floaters) in the viewers’ eyes, are actually depicted. A minimal gesture of faintly applied colour optically transliterates the harsh blinding light of snow. Snow blindness causes us to see dead cells as the blind spots in our eyesight. The work becomes an enactment of light’s biological process and how the eye’s pupils respond to it, including the fact that when we see mouches volantes, we actually “see” dead cells. Looking at our own death in Snow, our terror and desire converge in the fact that our own dying allows us a vague glimpse.
Carla Arocha & Stéphane Schraenen