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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 Movement

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관리자 2016-08-23 13:03

작가LI Ming
LI Ming, <Movement>, Eight Channel Digital Video, Color, Sound,Video 1-4 : 2' 30" Video 5-8 : 3' 53", 2014  ⓒ Courtesy of Antenna Space

LI Ming, <Nature>, Three channel Channel Digital Video, Color, Sound,Video 1 : 4' 39" Video 2 : 4' 25" Video 3 : 4' 59", 2014  ⓒ Courtesy of Antenna Space

LI Ming, <Disposable Lighters>, 4 channel digital video, color, sound, Video 1: 6min. 27sec. / Video 2: 7min. 44sec. / Video 3: 9min. 33sec. / Video 4: 8min. 52sec., 2014 ⓒ Antenna Space
LI Ming, <361>, Single channel digital video, color, sound, performance, 5min. 51sec., 2014-2016 ⓒ Antenna Space
LI Ming, <Hunting County>, Single channel digital video, color, sound, 10min., 2014 ⓒ Antenna Space


LI Ming
Movement

Li Ming has been continuing studies that pierce the core of the relationship between individuals and society through performance and video works. The artist himself is featured in the three works presented in this exhibition, and his body becomes a good practical parameter that represents the artist’s thoughts. In the video work with limited time, the artist endlessly continues repetitive movements using his body, and this continues until he is completely burnt out physically and psychologically. His ‘obsession’ implied in his works are very appealing. <361>(2014-2016) is a film about breaking 361 disposable lighters. For this performance, Li Ming thoroughly studied literature on disposable lighters and documentary film production. The artist has been carrying out studies on self-reflection, on how an entire community works even in the absence of certain personal goals and the dismay caused by social identity. <Movement>(2014) is composed of a total of 8 televisions and 2 synchronizers. Four televisions are connected to one synchronizer, and eight videos are played at the same time. <Nature>(2011) arranges four television screens in the shape of a cross. The screen on the left and on the right shows the artist’s thoughts on nature’s power and artificial power. The work enables the viewers to understand the artist’s philosophy and ideology.
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