PRESS & VIP GUIDE
English ver. PRESS & VIP GUIDE Sponsor Table of Contents
Host Ⅰ. Press Service 4
Ⅱ. Busan Biennale 2016 Overview 5 Main Features 6 Theme 8 Artistic Director 9 Project 1 10 Sponsor Project 2 30 Project 3 37
Ⅲ. Events Information Opening Ceremony 39 Press & VIP Opening 39
Ⅳ. General Information Location 41 Shuttle 42 Information Desk 42
Busan Biennale Organizing Committee 43 Support Contacts 44
Media Partner
2 3 Ⅰ. Press Service Ⅱ. Busan Biennale 2016
PR‧Marketing Team Overview
Please feel free to contact PR‧Marketing team at anytime if you want to report the Busan Title Busan Biennale 2016 Biennale 2016. Theme ‘Hybridizing Earth, Discussing Multitude’ Contact +82-51-501-9369 Email [email protected] Period Sept. 3 - Nov. 30, 2016 (89 days, Closed on Mondays)
Artworks 316 artworks of 121 artists (teams) from 23 countries
Webhard Venue Project 1 : Busan Museum of Art Project 2 : F1963 (KISWIRE Suyeong Factory) Busan Biennale Organizing Committee opens webhard for press to help report. All materials Project 3 : Seminar room of Busan Museum of Art, including press releases, photos and videos can be downloaded on our webhard. F1963 (KISWIRE Suyeong Factory) Square
Webhard busanbiennale.webhard.co.kr Artistic Director YUN Cheagab (Director of How Art Museum, Shanghai) ID busanbiennale - Project 1 Curator PW guest2016 China: GUO Xiaoyan Japan: J-team (SAWARAGI Noi, TATEHATA Akira, UEDA Yuzo) Korea: KIM Chan-Dong - Project 2 Curator YUN Cheagab Interview - Project 3 : Planning & Academic Program Team of Busan Biennale
Busan Biennale Organizing Committee supports interview between artists of the Busan Host Busan Metropolitan City, Busan Biennale Organizing Committee Biennale 2016 and journalists. Interview will be progressed under consideration of the artists’ installation and stay schedule. Support Ministry of Culture, Sports and Tourism, Mondriaan fund, Arts Council Korea, Hakgojae Gallery, The Japan Foundation, Seoul, Period Aug. 1 – Nov. 30, 2016 Committee of Organization of Korea-France Year 2015-2016, Pro Helvetia, Venue Exhibition Venue / Individual Mediation ARKO Creative Academy, Google Cultural Insititute, Star Art Organization, Apply Please send an email to PR‧Marketing team ([email protected]). M+ Hong Kong, Korea Art Week, NHN Ticketlink Guide We will inform you fixed date & time individually with agreement of the artists. Sponsor KISWIRE, SHINSEGAE Centum City, kantukan, BNK Busan Bank, SOCAR, Praha 993 by Czech Brewery, Doosung Paper, Haklim Construction Co., Ltd., GoldenBlue, TERAROSA, Samjin Fishcake Co., Ltd.
Media Partner ARTPREMIUM, Frame Korea, THE BUSANILBO, The Kookje Daily News, Busan Munhwa Broadcasting Corp., KBS Busan, KNN
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Main Features
Busan Biennale 2016 Consisting of Three Projects perspective on the world’s history of contemporary art. China will deal with the times of The Busan Biennale 2016 will be composed of exhibitions (Project 1 and Project 2) and various resistance and conflict starting with the Great Proletarian Cultural Revolution up to the Beijing cultural art programs (Project 3). Through this, it will escape from the existing concept of an Spring and Tiananmen Square Incident from 1976 to 1995 while Japan will deal with avant- exhibition being divided into a main exhibition and a special exhibition. In this exhibition, garde art such as Gutai Group, Mono-ha and Superflat from the atomic bombing of Hiroshima exhibitions and programs are blended together under one theme called Hybridizing Earth, until the end of the 1980’s. In the case of Korea, it is planning to deal with the fields of Korea’s Discussing Multitude. The exhibitions are divided into Project 1 which deals with avant-garde contemporary art, that had been overshadowed by Dansaekhwa (monochrome painting art of China/Korea/Japan before the 1990's and Project 2 which deals with the global Biennale in Korea) and Minjung Misul (people’s Art), such as conceptual art, happenings, and media system that has emerged since the 1990's. Project 3 will be composed of academic programs among the experimental art from the 1960’s to the 1980’s. and seminars which intensively examine the relationship between these two as artists and scholars of various religions, races and nationalities are gathered together. Various Programs Operated with the Exhibitions At Busan Biennale 2016, various cultural art programs (Project 3) are planned to be held Implementing an In-Depth Exhibition through the Organization of Curators together along with the exhibitions to make the event even more abundant. Project 3 has The Busan Biennale 2016 will be preparing the exhibition by selecting professional curators enhanced the atmosphere for the opening of Busan Biennale 2016 by having a warming- from China/Korea/Japan led by Artistic Director YUN Chaegab. GUO Xiaoyan from China, up party for two days on August 17th and August 27th while various programs such as SAWARAGI Noi, TATEHATA Akira and UEDA Yuzo from J-team of Japan, and KIM Chan-Dong of international academic programs, education programs, channel B, and others are planned Korea. They will intensively showcase the contemporary experimental art emerging from each during the exhibition period to express the exhibition theme through various perspectives and country in Project 1 of Busan Biennale 2016. genres. Project 3 will maintain a balance with the exhibitions and present academic discourse as a mediator to connect Project 1 and Project 2. The Largest Busan Biennale Ever Using the Entire Area of F1963 (KISWIRE Suyeong Factory) Project 2 of Busan Biennale 2016 will be held at F1963 (KISWIRE Suyeong Factory) through The Realization of the Exhibition Based on an Online Platform in Collaboration with Google 2 the full support of KISWIRE. This year, the entire area, which is about 9,900m , will be utilized The Busan Biennale 2016 will be in collaboration with the Google Cultural Institute so as contrary to the fact that a part of entire area was used as the exhibition site for the special to allow everyone around the world to appreciate the artworks on display at the biennale exhibition of Busan Biennale 2014 last year. The F1963 area, where an architect named Cho online. The Google Cultural Institute is a non-profit online exhibit site launched by Google that Byung Soo is in charge of remodeling, will be reborn as a new complex cultural space as enables anyone across the globe to appreciate cultural heritage such as cultural properties, it cherishes the original appearance of the factory. The original appearance of the factory documentaries, and historic sites. It also works to preserve them through partnerships with remains untouched and is expected to become a space to show the essence of Hybridizing 1,200 cultural and artistic institutions from 70 countries around the world. The site features Earth, Discussing Multitude, the theme of Busan Biennale 2016. The square located at the a wide variety of works with cultural and artistic value including more than 200,000 works of center of the exhibition hall will play a role of a public sphere where academic events and contemporary art and over 6 million artworks, photographs, videos, and manuscripts. The performances will be held. biennale will make its exhibits available and accessible to everyone around the world via Google's website and app in collaboration with the company. Those interested may search for artworks by Project 1, an/other avant-garde china-japan-korea to Leave Significance in the Historical year and color and appreciate them while guided by audio descriptions. Even after the biennale Aspects of Contemporary Art reaches its conclusion, “Discussing Multitude” will still be able to unfurl in your hands through an Project 1 of Busan Biennale 2016 has great significance in the historical aspects of exhibition based on an online platform that is open to the public across the world. contemporary art from the fact that it is the first exhibition to examine the avant-garde contemporary art of China/Korea/Japan. Project 1 to be held at the Busan Museum of Art under the theme of "an/other avant-garde china-japan-korea" intends to ruminate on the experimental art of the three Asian countries that has been forgotten and provide a balanced
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Theme Artistic Director YUN Cheagab
b. 1968 / Korea Director of How Art Museum, Shanghai
Education 2000 MA (finished), Indian Art History, Visva-Bharati University (Targore University), India 1997 Certificate, Graduate course, Chinese Modern and Contemporary Art History, Central Academy of Fine Arts, Beijing, China 1995 BA, Art Studies, Hong-ik University, Seoul, Korea
Career 2012 - Present Director, HOW Art Museum, Shanghai 2011 Director, Korean Pavilion, 54th International Art Exhibition - la Biennale di Venezia 2005 - 2010 Director, Arario Gallery (Beijing, Seoul, and New York) Hybridizing Earth, Discussing Multitude 2003 - 2006 Co-Director, Alternative Space LOOP, Seoul YUN Cheagab (Artistic Director of Busan Biennale 2016, Director of How Art Museum, Shanghai) Selected Exhibitions Curated The Biennale is a discussing multitude where artists and scholars of diverse religions, 2015 EAST BRIDGE 2015 - Plastic Garden, 798 Art Distric, Beijing; ethnicities and nationalities gather to discuss the issues of humanity’s past, present and Total Museum, Seoul, Korea future. Unlike literature, film and other cultural domains, this is a unique stage that can only be Jin Yangping: B-Level Painting, Today Art Museum, Beijing offered through the art genre and the biennale platform. 2014 Meeting Nam June Paik in Shanghai, Hakgojae Shanghai, Shanghai, China The Moment, We Awe, Sanshang Contemporary Art Museum, The Busan Biennale 2016 is expecting 121 artists from 23 countries through the Project 1 Hangzhou, China and Project 2. It will be a place where art as well as architecture, design, performances and 2013 Social Sculpture - Beuys in China, CAFA Art Museum, Beijing seminars come together, a scene where different views and heterogeneous languages clash Cynical Resistance, Canvas International Art, Amsterdam, Netherlands and coexist. This year, the addition of F1963 (KISWIRE Suyeong Factory, approximately 9,900㎡) The Moment, We Awe: Contemporary Art from Korea, HOW Art Museum, to the Busan Museum of Art (approximately 6,600㎡) will create the greatest scale throughout Wenzhou, China its history of Busan Biennale. 2011 The Love is Gone, but the Scar will Heal - Lee Yongbaek Solo Exhibition, Korean Pavilion, the 54th International Art Exhibition - la Biennale di The Busan Biennale 2016 will be contisted of two exhibitions (Project 1, Project 2) and a Venezia, Venice, Italy seminar (Project 3). It will address the relationship of continuity-discontinuity-interconnection 2010 Plastic Garden_Korean Contemporary Art, Minsheng Art Museum, between the avant-garde system before the 90’s and the global Biennale system that spurred Shanghai, China since the 90’s. This is the underlying question of the ‘Biennale’ as a form of exhibition and it 2009 Borderless Generation_Contemporary Art of Latin America, will provide introspection and criticism on the existence of artists. Korea Foundation, Seoul, Korea
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Project 1
an/other avant-garde china-japan-korea YUN Cheagab (Artistic Director of Busan Biennale 2016, Director of How Art Museum, Shanghai)
Project 1, entitled ‘an/other avant-garde china-japan-korea,’ will be held at the Busan Museum of Art. Co-curated by five curators from China, Japan and Korea, this exhibition will feature autochthonous experimental avant-garde art of China, Japan and Korea from the 1960s through the 1980s. Here, the singular ‘an’ denotes the homogeneous avant-garde spirit of China-Japan-Korea. And while the three countries shared the same avant-garde spirit, ‘other’ stresses the differences in social and political environment each had faced, giving rise to different respective forms of expression. Lastly, the three countries representing Asia in this exhibition are shown in the alphabetical order ‘china-japan-korea.’
The Project 1 will exhibit 148 artworks from 65 artists (teams), accompanied by joint archives and supporting materials on China-Japan-Korea to provide context and background of China-Japan-Korea avant-garde art within the world art history.
The China exhibition section will cover the period of resistance and conflict beginning from the end of the Chinese Cultural Revolution in 1976 to 1995, including the ‘Beijing Spring,’ the Tiananmen Square Massacre and the 1996 Yuanmingyuan incident.
In the case of Japan, the exhibition will cover the period from the atomic bombing of Hiroshima, referred to as ‘ground zero,’ to the late 1980s to include parts of Japanese avant-garde art, Gutai group, Mono-ha and Superflat.
The Korea section addresses the relatively unknown art movement that reflected resistance and Project 1 of the Busan Biennale 2016 freedom against military dictatorship of the 1970s and 1980s and formed the basis of Dansaekhwa (monochrome art) and Minjung art (people’s art). Theme an/other avant-garde china-japan-korea Period Sept. 3 - Nov. 30, 2016 (89 days, Closed on every Mondays) The highly anticipated Project 1 was designed to recover the forgotten and devalued avant-garde art Venue Busan Museum of Art of China-Japan-Korea from the 1960s through the 80s, and establish its significance within the world Curators China : GUO Xiaoyan (China) art history. This exhibition will be the first of its kind in Korea as well as Asia and the rest of the world. Japan : J-team (SAWARAGI Noi, TATEHATA Akira, UEDA Yuzo) Through Project 1, I hope that autochthonous avant-garde art of China-Japan-Korea will be Korea : KIM Chan-Dong re-discovered and restored as part of the world art history. Artworks 148 artworks of 65 artists(team) from 3 countries Lastly, many scholars from Asia as well as Europe and South America will be participating in the academic program (Project 3) which will run alongside the exhibition. I hope this biennale will serve to examine the true nature of the Chinese, Japanese and Korean avant-garde art and arrive at re-evaluation of their historical and aesthetic values.
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CHINA
Artist Artwork Material Size (HxWxDcm) Year In 1976, the Great Proletariat Cultural Revolution came to an end in China. At the cusp of such CAI Guoqiang Project to Extend the Great Wall of Three-channels video 7min. 33sec. 1993 China by 10,000 Meters: Project for historically and politically significant moment, the redefinition and new departure for Chinese Extraterrestrials No.10 contemporary art was underway. DING Fang Polis: Meeting of Lonely Souls Oil on canvas 80×117cm 1991 DING Yi Appearance of Crosses 1989-11 Acrylic on canvas 100×160cm 1989 From 1949 to 1976, politics (icons) has occupied an important position in artistic production. Appearance of Crosses 1989-7 Acrylic on canvas 100×120cm 1989 However, in the post – “public square” era of 1976, a new era was imminent. Meanwhile, how would Appearance of Crosses 1991-1 Acrylic on canvas 120×140cm 1991 knowledge on artistic practice be constructed and disseminated? How would the spiritual shift and GENG Jianyi Panda Bear Oil on canvas 120×100cm 미상 psychological evolution as the artists confront the shifts in their era be expressed? How would the Interchange of Light Oil on canvas 138.6×99cm 1995 artist make an impact on the various philosophical thinking and the impact of social and cultural GU Dexin B44, B45, B46 Embroidery on canvas 80×55.4cm etc 1983 ideals through their own means? How would they determine and absorb these different implications B08, B29, B47 Oil on canvas 64.6×49.3cm etc 1983 and understanding of ideas? To answer all of these questions, many Chinese art historians have GU Wenda Drama of Two Culture Formats Merge Ink, gouache on rice paper 137×68.5cm×8panels 1987 proposed various views and conclusions in the last three decades of experimenting and exploration HUANG Rui Yuanmingyuan - Freedom Oil on canvas 60×74cm 1980 in contemporary Chinese art (since 2009), as well as a number of exhibitions explored this subject. Wall (Preparatory Sketch) Charcoal on paper 58×85cm 1979 AIR No. 1 Oil on canvas 88.5×117.8cm 1981
This exhibition was curated on the basis of such general discussion, by looking back at the inception The Guitars Story Oil on canvas 86×96cm 1979 and the historical context in which such art experiments took place, mapping out the genesis of Man Reading Oil on canvas 61.5×51.5cm 1980 HUANG Library Project - Chair Cane chair, paper pulp 80×50×55cm 1988 Chinese contemporary art through the transformation of social and historical process, thus the Yongping The Beard was Easiest to Burn Paper 29.9×22.2cm×4panels 1986 exhibition aims to provide an opportunity to respond to a number of issues pertinent in Chinese art. MA Desheng Portrait of Women Ink on paper 61×81cm 1984 Portrait of Women Ink on paper 45×65.5cm 1984 Curator Untitled Ink on paper 95.5×178.5cm 1984 MA Kelu 1989 No.1 Oil on canvas 168×203cm 1989 GUO Xiaoyan Riverside Oil on paper 19×26cm 1974 MA Liuming Dialogue with Gilbert and George C-print 40.6×60.9cm 1993 b. 1963 / China Dialogue with Gilbert and George C-print 60.9×40.6cm 1993 Vice-director of Beijing Minsheng Art Museum Fen·Ma Liuming Walks the Greatwall C-print 120×240cm 1998 Fen·Ma Liuming Walks the Greatwall Single channel video 21min. 28sec. 1998 Education MAO Xuhui Roaming along the Moat after Drink Oil on woodboard 67×62cm 1982 2001 Completed at Sichuan university, department of philosophy, public utility management, MA Imitation of the Death of Marat by Oil on canvas 134×95cm 1989 1985 Graduated at Shanxi normal university, majored in educational psycology, BA Jacques-Louis David QIU Zhijie Tattoo 1 C-print 100×80cm 1996 Selected Exhibitions Curated Tattoo 2 C-print 100×80cm 1996 2010 - Present Vice-director of Beijing Minsheng Art Museum Tattoo 3 C-print 100×80cm 1996 2008 - 2010 Chief Curator of UCCA, Beijing A Thousand Times of Lan Ting Ji Xu Single channel video 34min. 38sec. 1992 2008 Research Curator for the 3rd Guangzhou Triennial SHEN Yuan Waterbed Mixed media 59.69×198.12×88.9cm 1989 2005 Co-curator of the 2nd Guangzhou Triennial SHU Qun Absolute Principle No.4 Oil on canvas 150×200cm 1986 2002 - 2007 Vice Director of the Guangzhou Triennial Office at the Guangdong Museum of Art Endless Road No.2-No.14 Gouache on paper 21.5×23.5cm etc 1983 - 1985
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Artist Artwork Material Size (HxWxDcm) Year WANG Great Criticism: Casio Oil on canvas 150×120cm 1993 Guangyi Black Rationality - Pathology Analysis Oil on canvas 75×85cm 1987 Famous Painting Covered with Mixed media 20×16cm etc 1989 Quick-Drying Industrial Paint 1-5 Famous Tune Covered with Mixed media 29×21cm×9panels 1989 Quick-Drying Industrial Paint 1-9 WANG Keping Silence Bronze H42cm 1980 WANG Luyan Tactile Art C-print 16.5×16.5cm×15panels 1988 WANG Ziwei Poker Acrylic on canvas 90.5×150cm 1988 WU How to do nothing Color ink and poster, 205×115cm 1993 Shanzhuan color on rice paper CAI Guoqiang XU Bing A Case Study of Transference Single channel video 13min. 26sec. 1993 - 1994 Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No.10, Three-channels video, 7min. A Case Study of Transference 1 C-print 42×29.7cm 1993 - 1994 33sec., 1993 A Case Study of Transference 2 C-print 42×29.7cm 1993 - 1994 A Case Study of Transference 3 C-print 29.7×42cm 1993 - 1994 GENG Jianyi A Case Study of Transference 4 C-print 42×29.7cm 1993 - 1994 Panda Bear, Oil on canvas, 120×100cm A Case Study of Transference_Display C-print 29.7×42cm 1993 - 1994 Mock-up A Case Study of Transference Silk-screen printing 81.5×81.5cm 1993 - 1994 YANG 100 Layers of Ink Ink on xuan paper 177×236cm 1989 - 1991 Jiechang 100 Layers of Ink Ink on xuan paper 236×177cm 1989 - 1991 Yu Youhan Untitled Acrylic on canvas 156×115cm 1994 ZHANG Dali Dialogue-Bologna 199371 C-print 60×90cm 1993 Dialogue-Xinglong Hutong 199593A C-print 60×90cm 1995 Dialogue-Deshengmen 199583 C-print 60×90cm 1995 Bumming in Beijing Single channel video 3min. 28sec. 1990 ZHANG Huan 12 Square Meters Single channel video 3min. 2sec. 1994 ZHANG Peili Boating Oil on canvas 83×130cm 1986 30 x 30 Single channel video 32min. 09sec. 1988 Water_Standard Version from the Single channel video 9min. 35sec. 1991 Dictionary ZHANG Bloodline: Big Family No. 3 Oil on canvas 190×150cm 1996 Xiaogang Wasteland Series No. 3 Oil on paper 25.7×19.5cm 1988 Wasteland Series No. 4 Oil on paper 19.4×27cm 1988 ZHOU Tiehai Ten Years Ago Mixed media on paper 173×232cm 1989
HUANG Yongping GU Wenda Library Project - Chair, cane chair, paper pulp, Drama of Two Culture Formats Merge, Ink, gouache on rice paper, 80×50×55cm, 1988 137×68.5cm×8panels, 1987 Photo ⓒ JJY Photo
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MA Liuming WANG Guangyi MA Liuming, Dialogue with Gilbert and George, C-print, Famous Painting Covered with Quick-Drying Industrial Paint 40.6×60.9cm, 1993 5, Mixed media, 18×25cm, 1989 ⓒ Wang Guangyi Studio
XU Bing A Case Study of Transference 1, C-print, 42×29.7cm, 1993-1994 © artist
ZHANG Peili Water_Standard Version from the Dictionary, Single channel video, 9min. 35sec., 1991 © artist
ZHANG Xiaogang Bloodline: Big Family No. 3, Oil on canvas, HUANG Rui QIU Zhijie 190×150cm, 1996 Wall (Preparatory Sketch), Charcoal on paper, 58×85cm, 1979 Tattoo 2, C-print, 100×80cm, 1996 © Chang Tsong Zung's Collection
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JAPAN < Avant-garde Art in Japan After War> Curator SAWARAGI Noi (Art Critic, Professor of General Education in the Faculty of Art and Design at Tama Art University) SAWARAGI Noi The avant-garde in Japan was introduced by foreign travelers into Japan shortly after World War I slightly later than in Europe. Then in 1930s avant-garde movement reached its peak b. 1962 / Japan in 1930s with Dadaism and Surrealism at the center. However, this movement changed its Professor of General Education in the Faculty of Art and Design affiliated function as the military in Japan gained force and artistic circles cooperated with at Tama Art University, Art Critic the national policy. Then the movement faded rapidly, disappearing in early 1940s. In this meaning, the avant-garde in Japan was being decimated once again. But the avant-garde in Education the art of Japan could be revived by OKAMOTO Taro, challenging the artistic circles in Japan 1986 Culture Department in the Faculty of Literature, Doshisha University which attempted to return to the precedent form without the liquidation of the past after War. However, the avant-garde that OKAMOTO argued was based on the ‘denial’ not embodiment. Selected Exhibitions Curated So his followers interpreted avant-garde movement as the activity 'not to imitate others' or 2007-2008 Guest researcher at TrAIN Research Centre at the University of the Arts, 'to do something different from others'. Taking this opportunity, avant-garde arts in Japan London emerged variously enough to call it 'blazing flower'. This is the reason why the trend emerging 1992 anomaly, Roentgen Kunst Institut, Tokyo, Japan from 1950s to 1960s like 'Group Gutai', 'Group Kyushu', 'Anti-art' or 'Mono-ha' are near to self- 『Nihon gendai bijutsu (Japan, Modernity, and Art)』 denying radicalism rather than avant-garde'. At the same time the subject that radicalism (Shinchosha Publishing Co., Ltd., 1998) depends on but rebels against is the rapid economic growth in Japan and its symbols are 『Senso to bijutsu1937 – 1945 (Art in Wartime Japan 1937 – 1945)』 Tokyo Olympic Games in 1964 and Osaka International Fair in 1970. When these festivals led (Kokushokan-koukai, 2007) with Ichiro Haryu and others by the national policy ended, objects that they were against disappeared and at the same time rapid economic growth was shadowed. As a result, the avant-garde in Japan after 1970s escaped from radicalism and came close to nihilism rapidly. In addition, after the mechanism to drive its economy was shifted from production to consumption in 1980s, post-avant-garde emerged to simulate subculture with deja vu without pursuing something new like in the TATEHATA Akira past as the response to the economy in Japan where the mechanism lost the existence and changed to bubble. However, the origin of everything was the point of oblivion in the history b. 1947 / Japan of defeat in the war and its symbol must be 'Japanese Constitution' and 'Hiroshima and Director of the Museum of Modern Art, Saitama Nagasaki of bombed area' Education 1972 Department of French Literature, Waseda University
Selected Exhibitions Curated 2011 - Present Director of the Museum of Modern Art, Saitama 2010 Artistic Director of Aichi Triennale 2010 2005 - 2011 Director of National Museum of Art, Osaka 2001 Artistic Director of the 1st Yokohama Biennale 1990, 1993 Commissioner of the Japan Pavilion at Venice Biennale
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UEDA Yuzo Artist Artwork Material Size (HxWxDcm) Year NAKAHARA Lego monster LEGO 320×280×210cm 1990 Kodai b. 1951 / Japan OKAMOTO Law of the Jungle Oil on canvas 181.5×259.5cm 1950 Director of Gallery Q Taro ORIMOTO 26 Execution Wood, cloth, newspaper, Dimensions variable 2016 Education Tatsumi iron, DVD SHINOHARA OIRAN Oil on canvas 160×390cm 1967 1976 Department of Graphic Design at Tama Art University Ushio SUZUKI Nonexistent Tableu (by Giuseppe Wooden, oil on canvas 53.7×46.2×6cｍ×2 panles 1967 Selected Exhibitions Curated Yoshinori Arcimboldo) 2015 Coordinator, 56th International Art Exhibition - la Biennale di Venezia - Nonexistent Tableu (by Giuseppe Wooden, oil on canvas 116×94.4cｍ×2 panels 1969 Arcimboldo) Tetsuya Ishida, Venice, Italy Nonexistent Tableu with an Appearance Wooden, oil on canvas 60×67.7cｍ 1967 2009 Korean Diaspora Artists in Asia - Quac Insic, National Museum of Modern of the Reverrse and Contemporary Art, Seoul, Korea. Two Yves Tanguy Oil on canvas 91×116.7cｍ 1966 2003 Guest curator, Itami Jun Achitecture, Guimet Museum, Paris, France TANAKA Gate of Hell Vinyl paints, acrylic, 331.5×245.5cm 1965 - 1969 Atsuko canvas 2000 Assistant Curator, Gwangju Biennale 2000 - Art and Human Rights Section YANAGI Article 9 Neon tube, electric Dimensions variable 1994 of the Asia, Gwangju Biennale Hall, Korea Yukinori relations
Participating Artists / Artworks
Artist Artwork Material Size (HxWxDcm) Year AIDA Makoto MONUMENT FOR NOTHING Corrugated cardboard Dimensions variable 2008 - 2016 AKASEGAWA Greater Japan Zero-Yen Notes Printed material 14.4×30.8cm 1967 Genpei Model 1,000-Yen Notes III Letterpress print 29.3×19.3cm 1963 SHINOHARA Ushio on craft paper OIRAN, Oil on canvas, 160×390cm, 1967 Sakura Gaho Bandit Edition: Poster 102×72cm 1971 celebrate on Sanrizuka! Police Banzai Original drawing 20.8×18cm 1971 (pen on paper) Red Army - P.F.L.P World War Declaration Poster 73×51.5cm 1971 2nd Anti-Imperialism International Poster 84.7×59.4cm 1971 Conference Chim↑Pom PAVILION Folded-paper crane Dimensions variable 2015 ENOKI Chu RPM1200 Steel Dimensions variable 2006 - 2011 HORI Kosai REVOLUTION Drawing on paper, Dimensions variable 1971 - 1972 AKASEGAWA Genpei 188 sheets installation 2nd Anti-Imperialism International Conference, KIKUHATA Slave Genealogy Wood, cloth, 500×320cｍ 1961 - 2016 Poster, 84.7×59.4cm, 1971 Mokuma mixed media KUDO Your Portrait 1967 Baby carriage, umbrellas, 125×180×70cm 1967 Tetsumi cotton, plastic, polyester, HORI Kosai resins, adhesives, chains, REVOLUTION, drawing on paper, 188 sheets installation, tubes, paint Dimensions variable, 1971 - 1972
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AIDA Makoto NAKAHARA Kodai MONUMENT FOR NOTHING, Corrugated cardboard, ENOKI Chu Lego monster, LEGO, 320×280×210cm, 1990 Dimensions variable, 2008 - 2016 RPM1200, Steel, Dimensions variable, 2006 - 2011
SUZUKI Yoshinori Two Yves Tanguy, Oil on canvas, 91×116.7cｍ, 1966
KIKUHATA Mokuma Slave Genealogy, Wood, cloth, mixed media, 500×320cｍ, 1961 - 2016
Chim↑Pom PAVILION, Folded-paper crane, Dimensions variable, 2015 © Chim ↑ Pom
TANAKA Atsuko YANAGI Yukinori OKAMOTO Taro Gate of Hell, Vinyl paints, acrylic, canvas, 331.5×245.5cm, Article 9, Neon tube, electric relations, Dimensions Law of the Jungle, Oil on canvas, 181.5×259.5cm, 1950 1965 - 1969 variable, 1994
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KOREA < Korea's Avant-Garde Movement: A Rebellious Escape> Curator KIM Chan-Dong (Director, Museum Headquarters of Gyeonggi Cultural Foundation) KIM Chan-Dong The Korean section of an/other avant-garde china-japan-korea in the Busan Biennale 2016 sheds light on the works of artists who, from the late 1960s to the late 1980s, raised questions b. 1957 / Korea concerning the established systems and pursued avant-garde experimental works to overcome Director, Museum Headquarters of Gyeonggi Cultural Foundation them. During this period, grand discourses mostly featured Dansaekhwa (Korean monochrome painting) and Minjung misul (People’s art) or formalism modernism and social realism. This Education section focuses primarily on a group of artists who explored new idioms in a realm between 2010 Ph.D (Completed), Department of Culture Contents, Hanyang University these two grand subjects and their activities. This section is intended to display the works 1987 M.F.A., Department of Western Painting, Hongik University of artists who have seriously considered the correlation between the two art movements on 1984 B.A., Department of Western Painting, Hongik University the border between form and content. It also tries to re-evaluate the diverse potentials of contemporary Korean art through reinterpretations of such art forms’ relatively non-uniform Career experimental traits. In doing so it aims to elucidate the origin of multifarious contemporary Served as the Visaul Arts Expert of Arts Council Korea Korean art after the 2000s by examining the characteristics and attributes of Korean avant- Served as the Director of ARKO Art Center garde art amid the streams of avant-garde art connected to the small-group activities of the Served as the Vice President, Korean Association of Arts Management 1980s such as the Korean Young Artists Association Exhibition, the Fourth Group, AG Group, 2002 City Univ. Visiting Researcher, London, UK the Daegu Contemporary Art Festival, Hyuck Group, ST Group, and Meta-vox Group. 1996 - 2014 Publisher and Editor, 『Art & Discourse』 1984 - 1998 Curator and Director, ARKO Art Center
주요전시기획경력 2000 Insa Art Center Opening Exhibition, Insa Art Center, Seoul, Korea 2000 European Video Artist – un real time video, ARKO Art Center, Seoul, Korea 2000 Song of Earth, Frederichianum Museum, Kassel, Germany 2000 Small Discourse, ARKO Art Center, Seoul, Korea 2000 Gwangju Biennale Special Exhibition, Gwangju, Korea 2000 KIM Ku-Lim solo exhibition–From phenomenon to traces, ARKO Art Center, Seoul, Korea 1999 LEE Kun-Young solo exhibition, ARKO Art Center, Seoul, Korea 1998 PARK Hyun-Ki solo exhibition, ARKO Art Center, Seoul, Korea 1997 LEE Seung-Taek solo exhibition, ARKO Art Center, Seoul, Korea
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Participating Artists / Artworks
Artist Artwork Material Size (HxWxDcm) Year Artist Artwork Material Size (HxWxDcm) Year CHOI Untitled Ball pen on newspaper 64×46cm 1973 KIM Young-Jin 1978-10-2 Photograph, plaster 250×200×80cm 1978 Byung-So Untitled Ball pen drawing on 39×54cm×2sheets 1973 1977 Fan blow, clothes 250×70×70cm 1977 Readers newspaper published in 1973 1978-2 Video installation 200×250×50cm 1978 Untitled Ball pen on newspaper 54×81cm 1973 Korean 1967
From phenomenon to traces Photography 200×300cm 1970 Newspaper Panel, newspaper 87×63×5cm×4pcs 1974
Art of incomprehensiblity Photocollage 180×100cm 1970 The Fourth Funeral Parade of cultura existente Single channel video 6min. 1970 Group The Meaning of 1/24 second Single channel video 11min. 1969 YOOK The sound of landscape + eye for field Mixed media 300×250×170cm 1989 KIM Sung-Bae Haha-Pine tree Pine tree 370×800×1500cm 1987 Keun-Byung
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LEE Seung-Taek Wind-Falk Amusement, Photography, 250×490cm, 1970 HA Yong-Sok Incompleted Project, Steel, wood, mixed media, 600×800cm, 1987
SHIN Young-Seong Korean dream, Fan on wall, 510×200×40cm, 1986
KANG Kuk-Jin Amusement of Visual Sense, Neon, stainless steel, 280×46×46cm, 1967
LEE Kang-So Untitled-75031, Wood, Cock, Met, Plaster, Iron, Chalk, 8 Photographs and String, 25×350×350cm, 1975
KIM Ku-Lim HONG Myung-Seop SUNG Neung-Kyoung Installation, Metal chair, cloth, Dimensions variable, 1975 De-veloping/en-veloping; level casting, Cotton cordage, Eight Newspaper Pages, Photography, tape, glue, Dimensions variable, 1978 - 1986 60×50cm×128pcs, 1977
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Hybridizing Earth, Discussing Mutitude Project 2 YUN Cheagab (Artistic Director of Busan Biennale 2016, Director of How Art Museum, Shanghai)
The digital technology that transcends time and space and makes networking possible has tied the earth into a single community, integrating the world into a single market. Within an app installed on our smartphones, 10 billion people around the world transcend their religious, ethnical and national boundaries and are networked together. Humanity is currently living in a ‘generation of multitude’ that no other generation has ever experienced.
It came to me that a biennale gathering artists and scholars of diverse religions, ethnicities and nationalities to discuss the issues of humanity’s past, present and future would be the most suitable form of exhibition for this generation of multitude. Unlike literature, film and other cultural domains, this is a unique stage that can only be offered through the art genre and the biennale platform.
The Busan Biennale’s theme of ‘Hybridizing Earth, Discussing Multitude’ is well aligned to this concept. The ‘affluent but impoverished’ world resulting from hybridization of tradition and modern; human and nature; East and West; analog and digital; capital and technology; is what a hybridizing earth is. It is a place that must never be reduced to capital and technology, and a place where mankind confronting reality begins their resistance and escape.
‘Hybridizing Earth, Discussing Multitude’ is a place of discussing possibilities. It is an inconvenient and distressing place that reflects on inefficiencies of the market and human irrationality, and on art’s vulnerability to the market and its system. Like Walter Benjamin’s melancholy, perhaps a document of civilization is a document of barbarism at the same time. I hope this Busan Biennale will be the same.
Project 2 of the Busan Biennale 2016 Participating Artists / Artworks Theme Hybridizing Earth, Discussing Multitude Period Sep. 3 - Nov. 30, 2016 (89 days, Closed on every Mondays) National Artist Artwork Year Venue F1963 (KISWIRE Suyeong Factory) Afghanistan Lida ABDUL In Transit 2008 Curator YUN Cheagab (Director of the How Art Museum) Time, Love and the Workings of Anti-Love 2013 Artworks 168 artworks of 56 artists (teams) from 23 countries USA Rina BANERJEE Ethnic and Race braided long hairs … 2014 Mangroves of Alien and Native froze and foamed, … 2014 Gargantuan Crawler 2014 Sweet Baby 2014 Disrobed, torn, ripped by wind, in open ocean, … 2014 The globe warmed like egg and … 2014 The gene was his mule. … 2014
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National Artist Artwork Year National Artist Artwork Year Israel Aya BEN RON Rescue 2012 Korea KWON Sunkwan The Valley of Darkness 2016 Rescue Video 2012 Korea LEE Seahyun Between Red-187 2013 Guernica 2012 Korea LEE Leenam Hybridizing earth 2016 Still-Life 2009 China LI Ming Movement 2014 Sisters 1-3 2010 Nature 2011 Sisters 4-5 2010 361 2014 - 2016 Sisters 6 2010 Huiting County 2016 Anatomy Class 2011 Disposable Lighters 2014 Korea CHO Hyeongseob Modern store 2016 Brazil Laura LIMA Ascenseur 2013/2016 Korea CHOI Kichang Long may you run 2016 China LIU Xinyi The Centre of the World 2011 Bright TV 2011 Treasure Island 2012 Korea CHOI Sungrok Operation Mole-Endgame 2016 Netherlands Dana LIXENBERG Imperial Courts 1993-2015 1993/2015 Israel Keren CYTTER Rose Garden 2014 France Xavier LUCCHESI Isabelle 2014 Philippines Kiri DALENA After Mebuyan 2016 Vincent 2012 Netherlands Folkert DE JONG Business As Usual: "The Tower" 2008 Sifflet 2011 Early Years 2008 Unnamed 2011 Operation Harmony 2008 Anonym 2009 Business As Usual: Double Happiness 2008 China FANG Lijun 2014-2015 2015 South Africa Zanele MUHOLI Avanda & Nhlanhla Moremi's wedding 2013 Netherlands Zoro FEIGL Untangling the tides 2014 Duduzile Zozo's Funeral 2013 Hoop 2015 Of Love & Loss 2014 Poppy 2012 Korea OH Younseok Hidden memories-herb 1, 2 2014 Italy Ibelisse GUARDIA Selvage 2016 herb – red Heart 1 2016 FERRAGUTTI herb – red Heart 2 2016 India Probir GUPTA Requiem 2016 herb – red Heart 3 2016 We are in the same boat brother 2012 herb – red Heart 4 2016 Korea HONG wonseok HONG Wonseok chauffeur service project-JOYOUS EXPERIENCE, SOCAR 2016 Japan O LTA Walking Cascade 2016 China HU Jieming Synchrony 2016 France ORLAN Beijing Opera Self Hybridization n°6 2014 Indonesia Saleh HUSEIN And Everything Around Us is Beautiful 2016 Beijing Opera Self Hybridization n°10 2014 Turkey Erdal INCI Taksim Spiral 2013 Beijing Opera Self Hybridization n°1 2014 Stumblers 2014 Ć Serbia Tanja OSTOJI Sans Papiers 2004 The 99 Percent 2015 Naked Life 6 2016 Korea JANG Jaerok Another Landscape 2016 Heart Ⅳ 2016 Strategies of Success / Curator Series 2001 - 2004 China JIA Aili Hermit from the Planet Ⅱ 2016 I'll be your angel 2001 China JIN Yangping Balloon Hit NO.1 2016 Be my guest 2001 Balloon Hit NO.2 2016 China PAK Sheung Chuen A Travel without Visual Experience (#3) 2008 Stand By 2016 Korea PARK Jihye Affection 2016 India Reena KALLAT Hyphenated lives 2016 Taiwan Hung-Chih PENG God Pound Busan 2016 Korea KIM Hak-J Between desire and universe 2016 India Pushpamala N Good Genes 2016
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National Artist Artwork Year Poland Joanna My father never touched me like that 2014 RAJKOWSKA South Africa Robin RHODE The Moon is Asleep 2015 Blackness Blooms 2016 Australia SHEN Shaomin Art History 2015 Germany Katharina LOOKING AT THE SUN AT MIDNIGHT (RED) 2010 - 2013 SIVERDING Switzerland Roman SIGNER Installation with Sand, Chairs, Buckets and Water 2016
USA Shinique SMITH No dust, No stain 2006 - 2010 Aya BEN RON Rescue, Mixed media, 270×82cm, 2012 Gesture lll: One Great Turning 2015 2015 Courtesy of AANDO FINE ART, Berlin Korea SOHN Junghee Enclosure 2016
Korea SONG Kicheol Already Peacefully Existing Here as Always. 2016 Zoro FEIGL Poppy, Tarpaulin, motor, steel, 750×950cm, 2012 Denmark Studio CONTEXT Cocoon 2 2016 Japan TAMURA Satoru Point of Contact #2 2016 Japan Nobuko TSUCHIYA The beginning of time 2016 Korea Yangachi Old Spice, Lang Version 2014 Old Spice, Nang Version 2014 White Hole 2014 White Hole 2014 Han River 2014 Korea YU Sunghoon The exhibition of the space 2016 The jammed space 2016
The empty space 2016 LEE Seahyun Korea YUN Pilnam Handmade fantasy 2016 Between Red-187, Oil on Linen, 334×745cm, 2013 Serbia Katarina ZDJELAR Everything is Gonna Be 2008 SHEN Shaomin China ZENG Hao Dining Table and Two Men 2013 Art History, Voice installation, Dimensions variable, 2015 A Boy Sitting on the Bench 2010 Two Glasses 2016 The Table Linen 2016 Morning of Aug. 23th, 2008 2008 Feb. 3th, 2008 2008 11:00pm of May. 29th, 2002 2002 04:06am of May. 9th, 1998 1998 May. 11th, 2008 2008 China ZHOU Wendou ADHD 2015
FANG Lijun Robin RHODE 2014 - 2015, Oil on canvas, 400×720cm, 2015 The Moon is Asleep, Super 8mm film transferred to digital HD, 1min. 50sec., 2015
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Project 3
Project 3 of the Busan Biennale 2016
Period Sept. 3 - Nov. 30, 2016 (89 days, Closed on every Mondays) Venue Busan Museum of Art Auditorium, F1963 (KISWIRE Suyeong Factory) Square Structure International Academic Program, Warming-up Party, Education Program, Channel B Planning Planning & Academic Program Team of Busan Biennale
Katharina SIVERDING Ibelisse GUARDIA FERRAGUTTI LOOKING AT THE SUN AT MIDNIGHT (RED), Selvage, Performance, video, 60min., 2016 SDO/NASA Digital film projection, 121min., 2010 - 2013 Photos : Jochem Jurgens
Public Sphere of Cultural Art by the Multitude to Transcend the Genre
Project 3 will take a hybrid approach to the exhibition theme through academic, performance, and education programs. This event is planning to create a "public sphere of the multitude" to discuss the culture in an even greater framework than other years with the participation of About F1963 scholars, artists, and organizations to encompass the genre in addition to art. In the name F1963, the letter “F” stands for factory and 1963 denotes the year that KISWIRE built its first factory here. After the manufacturing factories had relocated out of the city, the The academic program is composed of symposiums and lectures that are able to form an in- factory remained as a wire warehouse for many years. It was decided to leave the factory depth academic discourse on the exhibition theme of avant-garde. In case of the performance, guilding untouched, and after a major interior renovation for Busan Biennale 2016, the old the program will be held through cooperation with local cultural artists and organizations factory has been reborn as a multi-cultural complex. participating in various genres including music, dance, and drama based in the Busan area through a program called Channel B. It is also planning to release exhibition guides and This is a regeneration project where the old factory exterior was maintained while the programs for children, adolescents, and families in order to increase enjoyment by helping the interior was renovated to give a new purpose. The factory floors have been transformed into understanding of viewers who visit the Busan Biennale. landscaping rocks and stepping stones in the gardens, and the wooden truss that had once sustained the factory roof has been reborn as a bench for visitors to sit and relax. In addition, a warming-up party for forming a network of cultural art stakeholders, cultural artists of the Busan area, and organizations before the opening of Busan Biennale 2016 to The spatial concept of the architecture is “Three Squares.” The first center square serves as inform the public of the commencement of the biennale of 2016 was held on August 17th and a multi-purpose space for seminars, parties, concerts and performances. With bare ground August 27th to heat up the atmosphere of the opening of the exhibition even more. and completely open roof, earth meets sky meets people. The second square is a commercial space, and the third square is a cultural space featuring an exhibition hall, library and bookstore for enjoyment of diverse art and culture.
F1963 is a cultural factory where nature meets art and culture. It will contribute to the cultural vitality year around to the community.
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Programs 3. Special Concert
1. Warming-up Party Date & Time Sept. 11, 2016 (Sunday), 19:30 - 20:30 Sept. 30, 2016 (Friday), 19:00 - 20:00 Structure Namecard Exchange Event, Dance Party etc. Venue F1963 (KISWIRE Suyeong Factory) Square Contents Networking Party between artists Contents Public Music Concert supported by KISWIRE Participants Parties of the Busan Biennale, Artists, Citizens Date Title Genre Title Date Time Venue Content Sept. 11th Nanse Gum
4. Education Program 2. International Academic Program Period Sept. 3 - Nov. 30, 2016 Structure Round Table, Special Lecture of Participating Artists, Talk Program, Symposium Venue Busan Museum of Art, F1963 (KISWIRE Suyeong Factory) Biennale Lounge Learning Center Date & Time Title Venue Content Structure Children Worksheet, Youth Worksheet, Family Workshop, Docent Tour - An academic symposium held in connection with Project 1 - Planning intentions and exhibition background heard an/other Sept. 2nd Busan Museum from the curators of China/Japan/Korea and the Artistic Program Time Venue Content avant-garde 15:00 - 17:30 of Art Auditorium Director YUN Chaegab china-japan-korea - A program for viewing Busan Biennale 2016 by printing a children - Formation of discourse and round table on the Voluntary program, Busan Museum of Children worksheet (educational material) avant-garde art of China/Japan/Korea Weekend and Art, F1963 (KISWIRE Worksheet - Performance of a docent tour with children worksheet at 2 PM on F1963 Holidays 14:00 Suyeong Factory) Sept. 3rd ORLAN: - Special lecture on the entire world of artwork by the (KISWIRE Suyeong Saturdays, Sundays and holidays 16:00 - 17:00 The Hybrid Artist participating artist of Project 2 named ORLAN Factory) Square Busan Museum of Youth - A program for viewing Busan Biennale 2016 by printing an - A talk program on ‘avant-garde’ by the National Museum Voluntary program Art, F1963(KISWIRE F1963 Worksheet adolescent worksheet (educational material) Aug. 11th Talk about of Modern and Contemporary Art Director of National (KISWIRE Suyeong Suyeong Factory) 16:00 - 17:30 Avant-Garde Art Gallery Singapore and the Artistic Director of Factory) Square Busan Biennale 2016 F1963 (KISWIRE Family Weekend Suyeong Factory) Korea Art Week F1963 - A talk and party program under the theme of three Aug. 23rd - A workshop program held for families 2016 – Biennale (KISWIRE Suyeong biennales including the Busan Biennale, Gwangju Workshop 10:30, 14:00 Biennale Lounge 13:00 - 23:00 Playground Factory) Square Biennale, and SeMA Biennale Mediacity Seoul 2016 Learning Center - An in-depth symposium on Korea’s avant-garde from Aug. 28th Korean Avant-Garde : Busan Museum the 1960’s to the 1980’s in connection with the Korean 15:00 - 18:00 focus on 1960s to 80s of Art Auditorium exhibition of Project 1 F1963 F1963 Aug. 29th - A talk program on Korea’s avant-garde with the (KISWIRE Suyeong (KISWIRE Suyeong 14:00 - 16:00 participating artists of Project 1 Factory) Square Factory) Square 5. Channel B
Period Every Saturdays, Sundays, Holidays Venue F1963 (KISWIRE Suyeong Factory) Square Genre Dance, Music, Architecture, etc. Inquiries Planning & Academic Program Team (+82-51-717-2609)
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Events Information Location
Press & VIP Open Busan Museum of Art 58, APEC-ro, Haeundae-gu, Busan, Korea Period Sept. 2, 2016 (Fri.), 13:30 Venue Busan Museum of Art, F1963 (KISWIRE Suyeong Factory) By Metro Take line 2 and get off at Busan Museum of Art station Contents Unveiling the Busan Biennale 2016 exhibtion venue, artworks, VIP reception By Bus Take No. 31, 39, 40, 63, 100, 100-1, 115-1, 141, 181, 200, 307 (Bexco stop) 31, 39, 40, 63, 100, 100-1, 115-1, 139, 141, 181, 200-1, 1001, 1011 (Olympic Junction stop)
Opening Ceremony
Period Sept. 3, 2016 (Sat.), 14:00 F1963 (KISWIRE Suyeong Factory) Venue F1963 (KISWIRE Suyeong Factory) 20, Gurak-ro 123, Suyeong-gu, Busan, Korea Contents Declaration of the opening, ceremony, performance, reception, etc. By Metro Mangmi station (line No. 3) - it takes 20 minutes long from exit 2 MangMi station Date Time Schedule Venue By Bus No. 54 (KISWIRE stop) Press conference & Project 1 Preview 13:30 - 15:00 Busan Museum of Art Auditorium (Press & VIP only) Project 3: Academic Program 15:00 - 17:30 Busan Museum of Art Auditorium Sept. 2nd "an/other avant-garde in china–japan–korea" (Fri.) Project 2 Preview 18:00 - 19:00 F1963 (including the perfomance of artist) Reception party 19:00 - 22:00 F1963 (including the perfomance of artist) Opening Ceremony Sept. 3rd, 14:00 - 16:00 F1963 (Sat.) (including the tour of Project 2) 16:00 - 17:00 Special Talk (ORLAN : The Hybrid Artist) F1963
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Busan Biennale Organizing Committee
Shuttle Bus Overview
Period Sept. 3 - Nov. 30, 2016 Established Fridays, Saturdays, Sundays and National Holidays Dec. 23, 1999 fare Free Route Exhibition venues of Busan Biennale 2016 (Round course) Memeber 86 people (2016) Suyeong KISWIRE Center metro station Chairman Suh Byung-soo (Mayor of Busan Metropolitan City)
F1963 Busan Museum of Art Executive Director LIM, Dong Lak (Professor of Dong-A University)
SHINSEGAE Centum City Centum City Mall metro station Composition of Organization Organizing Committee, Board of Directors, Executive Committee, Executive Office, etc.
Schedule Bus 1. Departure : F1963 History 10:00 10:30 11:00 11:30 13:00 2015 Sea Art Festival 2015 13:30 14:00 14:30 15:00 15:30 2014 Busan Biennale 2014 16:00 16:30 17:00 17:30 2013 Sea Art Festival 2013 2012 Busan Biennale 2012 Bus 2. 2011 Sea Art Festival 2011 Departure : Busan Museum of Art 2010 Busan Biennale 2010 10:00 10:30 11:00 11:30 13:00 2008 Busan Biennale 2008 13:30 14:00 14:30 15:00 15:30 2006 Busan Biennale 2006 16:00 16:30 17:00 17:30 2004 Busan Biennale 2004 2003 Designated Specializes Arts Corporation (Culture and Arts Promotion Article 10) 2002 Busan Biennale 2002 2001 Change of the name of Busan International Contemporary Art Festival Information Desk 2000 2000 Pusan International Contemporary Art Festival (‘2000PICAF’) 1999 Pusan International Contemporary Art Festival Organizing Committee established Period Sept. 3 - Nov. 30, 2016 1998 Interated three festivals → '98Pusan International Contemporary Art Festival ('98PICAF) Venue Lobby (First Floor) of Busan Museum of Art, 1991 The Busan International Outdoor Sculpture Exhibition launched Biennale Lounge of F1963 (KISWIRE Suyeong Factory) 1987 The Sea Art Festival launched Contents General Information Guide, Selling Souvenir, Participating Program 1981 The Busan Youth Biennale launched
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Contact Busan Biennale Organizing Committee 38, Asiad Main Stadium, Worldcup st., Yeonje-gu, Busan Tel. +82-51-503-6111 Fax. +82-51-503-6584
PR·Marketing Team Director Website & SNS Ms. MOON Juhwa Website www.busanbiennale.org +82-51-503-6579 / [email protected] Blog blog.busanbiennlae.org Facebook www.facebook.com/busanbiennale PR·Marketing Team Staff Instagram Instagram.com/ busanbiennale Ms. KIM Jiyoon Youtube youtube.com/bsbiennale +82-51-501-9369 / [email protected] Twitter twitter.com/busaniennale
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