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.
2004 Angels Camp
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관리자 2005-10-12 15:45
The film is in the form of a saga, during which the protagonists, ill-adapted to the world in which they live and isolated in a wild environment, build themselves a shared experience and a new family. Angels Camp becomes a place in the mind, between dream and reality. Set free, the characters reveal their secrets, which are as much fantasies as tales of woe.
Nature is the element whch reflects the identity of the protagonists, by revealing their psychology. By behaving instinctively and liberating themselves from repressed emotionalstates, they gain their freedom, experienced in a strange way, in profound isolation. Beings in peril, they develop a poetry of gesture, an imaginary language and a mode of communication which ensure their survival. Fascinated by everyday life, Emmanuelle Antille has always made human relationships the focus of her work. Simple gestures, apparently trivial, are embedded, repeated and brought it and out of focus, functioning as the equivalent of speech.
Extract from Falling angels, Ceyla Reverdin