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.
I Had a Single Song
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관리자 2020-09-15 18:06
I Had a Single Song
The text is comprised of three voices, ‘I,’ ‘his,’ and ‘the third’ and the words by three characters overlap and intermingles throughout the story. The main character, I, meet a big family in the middle of a long journey. ‘I’ was riding a bus, and a big family of 20 women asked the bus driver if there is a seat available for a dead baby. The driver shook his head and refused to let them on board the bus. The driver added that they are going home to bury the body of their youngest daughter. ‘I’ looked at the women and recalled the memories of I’s own childhood. The female actress dies of a sudden seizure during a performance. The audience think her death is a part of the play, and the follow actor continues the play even after noticing her death. After the play ends, the actor—who is worried about being convicted as a murderer—carries the body to her house where she lives alone. He seat the body on a couch, wipes the blood of her mouth with a wet handkerchief and squeezed a few drops of water into her mouth with the suspicion that she might revive from the dead; however, there is no reaction. The story presents different stages of loss, mourning, and grief.
BAE Suah, Novelist
BAE Suah is a novelist and a translator born in 1965 in Seoul, Korea. In 1993, she published her first short story and has been presenting full-length novels, short stories, essays, etc. After publishing a short story collection, Snake and Water in 2018, she has been transferring her works into recitations which have been performed several times. One of her most recent work is 『멀리 있다 우루는 늦을 것이다』 and she has been working with the director Werner Fritsch on the filmpoem project FAUST SONNENGESANG and participated as a reader in FAUST SONNENGESANG III (2018) and IV (2020).
Audio Book (Click)