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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.


2016 Bejing Opera Self Hybridization n°6

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관리자 2016-08-23 11:36

작가ORLAN
ORLAN, <Bejing Opera Self Hybridization n°6>, ORLAN, Augmented Reality, Beijing Opera,  Augmented Reality,120x120cm, 2014

ORLAN, <Bejing Opera Self Hybridization n°1>, ORLAN, Augmented Reality, Beijing Opera,  Augmented Reality,120x120cm, 2014

ORLAN, <Bejing Opera Self Hybridization n°10>, ORLAN, Augmented Reality, Beijing Opera,  Augmented Reality,120x120cm, 2014


ORLAN
Bejing Opera Self Hybridization n°6

ORLAN uses her own body as the material and a visual support for her works. She uses her own body as an area for debate and exhibition. She is the progenitor of body art and a major figure in ‘carnal art’ defined in the 1989 Statement. ORLAN’s tenacity and freeness are essential parts of her works. She adheres to the attitude of innovating, questioning, and being destructive in all of her works. ORLAN destroys the ‘ready-made’ thought process and customs by ceaselessly implementing fundamental changes to data. She opposes the dominant kind such as social, political and natural determinism, male chauvinism, religion, cultural division, and racial discrimination. ORLAN not only describes the female body of the Baroque period and religious iconography, but also explores the culture of India and China before Columbus discovered the Americas. At the same time, she looks into their physical, emotional and virtual reality using the most modern science, biology, and computer technologies. In her recent series work <Masks Beijing Opera, facing designs and augmented reality>(2014), ORLAN grafts the mask of Beijing opera to interactive technologies. Through the use of ‘Augment’, which is an application for augmented reality, she turns self-hybridization and all the sources into QR codes. ORLAN shows acrobatics by having her avatars appear on tablets and smartphones of the audience in Beijing Opera, which was forbidden to women. The audience can also take photographs with those 3D avatars.


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