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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.


2004 Temporary Revolution

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관리자 2005-10-12 15:50

작가Colin Darke
The basis of my work for a number of years has been Marx's analysis of base and superstructure, using my art as a means of enquiring into the level of autonomy of art practice, in the face of the art market and its gallery system. This has mostly consisted of making ideological "attacks"on the fabric of the gallery, using Marxist text and/or images of revolution applied directly to gallery walls. The images are distorted to fit the wall spaces made available, thus surrendering a degree of my artistic autonomy. At the end of exhibitions, of course, the pieces are painted out, thus ensuring the victory of the market over my interventions. Bourgeois culture is obliged to incorporate within itself art which challenges its form(reflecting Marx's "gravedigger"analysis of class struggle within capitalism), but in the end subsumes and dilutes it.
Temporary Revolution continues this practice, with the conflict presented by the text supported by its colour. The black counters the tradition of the clean, white wall of the gallery space and the blue/grey lettering signifies mould. Its location in the southern half of a Korea fractured by ideological and political difference highlights the eurocentricity of its content and also the ability of capitalist culture to contain revolutionary ideas, and emerges unharmed.
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