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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 Ascenseur

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관리자 2016-08-23 13:01

작가Laura LIMA
Laura LIMA, <Ascenseur>, 6m wall, structure, key, yoga mat, 250x600x150cm, 2013/2016

Laura LIMA
Ascenseur

Laura Lima put forth a body of work that she herself calls ‘images’. Lima’s ‘images’ are not performance, not installation, not cinema. The ‘images’ the artist uses are conceptualized works of an accumulation of visual clarity and factual firmness. Among the works that symbolize such rigorously conceptual projects, <Man=flesh/Woman=flesh (Homem=carne/Mulher=carne)> is the most well-known. Parts of Laura Lima’s works are related to the notion of ornamental philosophy. Lima directly opposes the conventional view of thinking that ‘ornaments are not important’. She twists and overturns definitions and notions that are considered to be general and conventional.
This is the first time for her work <Ascenseur>(2013, 2016) presented in Busan Biennale2016 to be shown in Asia. Standing in front of this work, we are confronted with an arm reaching out from underneath a wall, groping for a set of keys. The artist thought that while we easily think of this arm as being impertinent to us, thinking that it must belong to someone else, that arm actually could be ours. In this sense, the work touches upon the most basic forms of presence and interaction.

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