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.
Nicolas BOONE
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관리자 2020-09-05 12:06
Born 1974 in Lyon, France
Lives in Paris
Nicolas BOONE, Vessels and buses are passing by, 2020, Video, color, sound, 26min, TOURNAGE3000 PRODUCTION
As a film director, Nicolas BOONE creates his works in a constant flux between directing and video recording. The results of this approach are manifold. He has made series (BUP, 2007/2008) and a number of middle-length and short films which are sometimes presented together as a whole program (Les Dépossédés, 2012). BOONE’s films take us around the world, from the poor neighborhood Las Cruces in Bogatá, Columbia (LAS CRUCES, 2018) to deserted villages in sub-Saharan Senegal (PSALM, 2015). His directorial style lets us follow the footsteps of local inhabitants and travelers. By creating this intimate relation he lets us experience the brutality, dreams, and joy that define everyday life in the environments he presents to us.
BOONE often chooses to visit forgotten or neglected areas, such as the once-fashionable Hillbrow neighborhood in Johannesburg, which used to be an Apartheid-designated “whites only” area, but which is today densely populated and characterized by high crime rates (HILLBROW, 2014). Further he rarely gives the viewer specific information such as names of the characters or locations, and he uses this abstraction as a way of pointing to the general issues, for example poverty and violence. Finally, many of BOONE’s works share an interest in social interrelations and the idea of community. This is most clear in the experimental film ETAGE 39, in which BOONE investigates spatial experience in collaboration with eleven people in an enclosed room padded with a green screen. Subsequently, BOONE replaced the green screen for marvelous panoramas from all over the world that alter the viewer's experience of the emptiness that the participants endured. Alongside his work as a director, BOONE creates performances, such as NOTHING HAPPENING, a three-hour live performance made while on residency in Vancouver. NOTHING HAPPENING was performed at LIQUIDATION, a retrospective exhibition of his video works in 2011.