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.
Marnie WEBER
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관리자 2020-09-05 15:12
Born 1959 in Bridgeport, USA
Lives in Los Angeles
Marnie WEBER, Song of the Sea Witch, 2020, Single channel video, color, sound, mannequin, costumes, chair…, variable dimensions
Marnie WEBER’s practice encompasses performance, video, sculpture, installations and music. Weber creates dark, uncanny, and dream-like worlds that linger between fantasy, reality, and bizarre magic. The narratives and environments that WEBER creates are eerie, and often the installations are inhabited by female characters and mannequins disguised in ornate costumes, wigs, and masks. These creatures often take the form of grotesque half-human, half-animal hybrids, where fat bears in tutus are as normal as crying clowns in Western-style Saloon settings. The mythological anthropomorphizing of animals can be seen in most of Marnie WEBER’s photographs and collages made during the last 30 years. Works like The Jellyfish Afternoon (1998), One Hundred Bunnies Wait for Century Plant to Bloom (1998), Behold I Am Alive Forevermore (2010) or The Owl (2018) are examples of how the artist scrambles images and narratives, and uses the cut and paste technique as a method and matrix for her films. Her carnivalesque works have a very cinematic quality that reference stage sets, cheap Hollywood productions, and B-Movies gone wrong. The title of her 2016 retrospective exhibition Once Upon a Time in Forevermore at MAMCO, Switzerland, suggests her work’s connection to fairytales and folklore. The psychedelia in these neo-gothic works have elements of repressed counter-culture and American popular culture and embraces Walt Disney and Charles Manson at the same time that it cuddles a perverted David Lynch-like fantasy.