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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.


2014 Reflections

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관리자 2014-09-16 09:41

작가Mariana VASSILEVA

2006
16:9 Video, PAL, sound  
Duration: 5 min. 14 sec.
C+J Mairet Collection

Reflecions


2006
16:9 Video, PAL, sound  
Duration: 5 min. 14 sec.
C+J Mairet Collection

Jumping Man

Bulgarian artist Mariana Vassileva, currently based in Berlin, has been building surreal objects that suggest another perspective to gaze at an object, and her humor and irony complete her work as conceptual art. In Reflection (2006), Mariana Vassileva had people face the sunlight reflected from a mirror. She made this experience a collective performance, and turned the performance into video work by filming it. The experience of becoming blinded by reflected sunlight shows both the nature of the two dimensional planar image about ¡°seeing,¡± and the self-reflexivity of the video, which is closely related to light. Her work Jumping Man (2000-2005), presented at the Busan Biennale, is an extension of the artist¡¯s interest about movement. It visualizes claustrophobia and repetitive impulse through minimal, repetitive and compulsive gestures.
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