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.
2012 Les Trente étreintes
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관리자 2013-03-25 11:35
Les Trente étreintes
Éric Rondepierre has been an actor, dancer and painter. A passionate watcher of films, too. For some twenty years now he has been using the medium of photography, yet without calling himself a photographer. In all cases, his practice has been articulated around the dynamic connection between cinema and photography. For a long time he has mined his gold from the continuum of film reels, bringing us nuggets that without him would never have existed.
1997- 1999 : " Les trente étreintes" ( “Thirty embraces” ) come from a minute-long sequence found in the archives of the Bologna film Library (Italy). We see the image of a couple deteriorating and the figures metamorphosed by the marks that time has made on the film. The photographies are not retouched.
2008-2009 : The two pièces of " Seuils" ( “Limit point ” ) combine two mediums and two categories of archive. Two temporal strata come together here : that of silent films from the early 20th century and that of contemporary photographs taken by the artist in his daily life, derived from the “Agendas” series. This is the basis for a world of sometimes ambiguous encounters.
2010-2011 : The serie "DSL" come from famous movies (Hitchcock, Lynch, Godard, Truffaut, Ophüls...) broadcast on the television by computer (Digital Suscriber Line). This passage by the web can provoke dysfunctions in the relation between the flow of lines and the decoding. The artist made screenshot of these changes without retouching the pictures.
Eric Rondepierre is looking to see how time, in all its forms (the historic time which causes the film stock to deteriorate, the filmic time which is elaborated with the overprinting of traces of the cinema and the presence of the real, the new technology time with his chaos of signals, their deciphering, their compression process and their journey over the web) has worked to produce forms.
It is these rare moments of epiphany that interest Rondepierre, who seems to believe in a possible redemption of images, a kind of grace which is accorded but hidden, and which can only be discovered through the discipline and acuity of the eye.