Biennale 2018

Nature Art Park - Nature - Private Space - Shelter

Istvan Eross (Artistic Director of Geumgang Nature Art Biennale 2018)


“A building created to give protection from bad weather, danger, or attack”


Following the accelerated events of our world, it seems that the decisive task for the 21st century will be the radical transformation of perspectives and values. We live in a time when new ideologies are born that propose solutions to the challenges within this new millennium. More and more of us feel the need to disengage from the idea of continuous expansion and by adopting a longer-term perspective, to sketch out a sensible, sustainable vision of the future within a new ideological framework. In this quest for recourse, naturally, artists also seek and undertake an altered role. Many of them consider total life or nature as the scene of their activity instead of the within a specific creative industry. The strengthening of public art, street art, and the environmental art genres reveal the growing wishes of artists to move their work beyond a primarily gallery-based system. Thus, the artists working in natural environment are often led by the intension to improve society. While doing so, they inevitably resonate with a growing vision of an altered social, economic, and cultural environment. While entrusting the world’s aggressive rearrangement to the engineers of urban centres, they nevertheless relish time spent in a natural environment distant from the organized areas of geo-cultural politics, the „small gestures” and the meditative experience of the process of creation.


In the light of the above mentioned thoughts, the participants of GNAB create artworks that follow a path opposed to the usual 20th century methods of nature-culture integration. Instead of migrating from rural spaces to the urban, they now create pieces while working within nature itself. Therefore, the aim of the GNAB 2018 is titled NATURE-PRIVATE SPACE-SHELTER. Within this title is an analysis of the confines of architecture and fine art and to experience the connection between these areas. As a secondary focus, the event aims to promote the creation of artworks that use the discourse about the context of the natural environment and a created personal space as their subject matter.

The participants of Geumgang Nature Art Biennale 2018 are artists, architects, groups who are interested in nature and specifically in the problems posed by the use of organic materials within created sculptural and architectural spaces; those realized works are important, cohesive acts within what nature itself provides.

These key words give the participants the opportunity to expand the coherence of the perception of space, human scale and ecologically proportional systems and the relationship of natural materials and techniques.


NATURE - the concept of Nature Art

The ’sign’ created in nature strengthens specific natural formations and the unique character of a given landscape. Their connection is unalterable.

Additionally, the piece cannot be interpreted beyond its given environmental context.

The creators should confine themselves to a minimal use of machines when designing and crafting their artwork.

The artists should mainly use natural materials found within the local, given environment.

When considering the durability of the structure, the artist can use materials such as steel. However, if the artist desires other non-local inorganic or organic materials, it should be discussed with the biennale committee.


PRIVATE SPACE - the concept of the piece’s interior space

Space is an emptiness stretching in three directions that is surrounded by matter on all sides.

Space itself is not even perceptible. Rather, it is the spatial order, ’spatiality’ of the material binding masses and surfaces - tracing out space which is the artwork itself.

Space and human scale are closely related. Space becomes space via its human scale.

It is possible to move within space and this movement is not only for practical purposes.

By moving around in the inner space of the artwork we can understand the characteristics and atmosphere of the given space and we experience the surfaces and masses forming it. We also get to feel its materiality and its impact on us.

By moving around and having both physical and possibly spiritual experiences in a space it becomes a both personal and intimate.



This constructed private space promotes a sense of security, and beckons the user to stay and ponder.

The atmosphere of this inner space, the aesthetical expressive force of its structure, the rhythm of the masses and surfaces enclosing it provide the value and quality of the artwork. It can be therefore be interpreted as a classical work of art when viewed from the outside.