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 Drunk
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관리자 2005-10-12 16:04
Gillian Wearing, who is well known for his various British community explorations, also induces mimetic impulsion between the alcoholics and viewers through his superb talent.
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Visitors who are watching Gillian Wearing's 3 Chanel video work are in for shock. They will be watching his work projected onto three large screens. Each screen is 4x3 meters installed side by side. Body parts of people who appear to be drunken and unsteady are projected on to these 3 screens with white background. Since the screens are disconnected, the body parts also appear disconnected. Moreover, from a fixed camera's point of view of which shows viewers frontal gaze thoroughly excludes subjectivity. The bare white background also adds to the non-subjectivity and it in turn creates absolutely neutral atmosphere. On the other hand, the characters who play alcoholics appear to be so real. They are falling down, sitting down on the floor, fighting each other, or having difficulties in making even very simple movement. Some scenes show they lose control of their bodies and collapse bitterly hugging each other from time to time. There scenes are good enough to win viewer's sympathy. Through this image format and the contrast in contents, of which Gillian adopted to use, viewers may experience either rage or sympathy. Viewers will gradually bewitched to let everything to, whether it's emotionally, socially or politically motivated.
Gillian Wearing, who is well known for his various British community explorations, also induces mimetic impulsion between the alcoholics and viewers through his superb talent.