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Busan Biennale 2008

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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.


2008 SON, Han Sam

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관리자 2009-08-27 17:44

작가SON, Han Sam
The artist tries to understand social phenomena and to visualize their effects through observation on places and environments. At this time a container will be transformed into a new museum. In this museum anyone can make their own work of art and display it there. For each painting or sculpture of the audience, the artist makes an objet with corrugated papers or gives one of his works of art. It’s an interactive experiment on the general idea about art and the possibility of extending the limit of that.
And wooden structure on the Gwangalli beach becomes a frame for a part of nature. The artist tries to sharpen the degenerated senses which become dull in the deluge of visual images competitively stimulating desire of unbounded consumption and to reveal the ideology of the seemingly neutral frame itself.
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