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.
Stan DOUGLAS
Read 1,358
관리자 2020-09-05 12:29
Born 1960in Vancouver, Canada
Lives in Vancouver
Stan Douglas,Monodramas, 1991, Single channel video installation, sound, 10 videos for broadcast television, 30-60sec each
© Stan Douglas, Courtesy the artist, Victoria Miro and David Zwirner
Stan DOUGLAS’s film and video installations, photography and work in television reflects the technological and social aspects of mass media. Exploring modern utopian ideals, Douglas has presented new perspectives on the themes of identity formation in the context of colonialism and urban development. From a technological aspect, his work materializes past events through the re-staging and recreation of historical scenes or specific locations. Monodramas (1991) is a series of ten video works developed for television broadcasting. These short videos of about 30 to 60 seconds’ duration were produced to intervene in regular commercial TV broadcasting, and were aired in British Columbia during commercial breaks, without forewarning, over a period of three weeks in 1992. This interrupted regular nighttime programming and created a narrative flow that was a departure from the usual flow of commercials and entertainment shows. Non sequitur scenes – whether depicting the moment before the collision of a car and school bus at an intersection, or how a passerby greeting an African-Canadian man in the street is told “I’m not Gary” in response – unfold in bleak commercial locations around the city, addressing misanthropy and the sense of foreboding or tensions and misunderstandings that can arise in these urban environments.