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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 Worm Hole

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관리자 2009-08-27 17:48

작가Karina Smigla-Bobinski
This work aims to unite the examination of the wisdom of time and space and idea of global village. But it also includes the fears, wishes and fantasies of single persons. It is as if the pictures of her were "real pictures" next to or within the so-called "reality", and ultimately this very coexistence lures one towards illusions. The "make-believe" of her pictures opens views and perspectives on an artistically transformed reality whose possibilities as enrichment and communication prevail next to the reality of the observer. They project reality as assumedly "alienated" into the area and bring previously unperceived possibilities into play as their representation. It is almost as if an equilibrium between art and reality is created, between an artificial reality and real art with the common denominator being the "appearance", a visibility totally dependent on light.
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