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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.


2006 블루, 화이트, 레드, 그린

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관리자 2009-08-26 15:43

작가샘 듀란트
모더니즘의 신화 해체에 주력하는 샘 듀렌트는 건축과 대중음악에 관심이 많다. 작가는 다양한 문학이나 문화적 원자료에서 이미지들과 인용구들을 빌려오거나 복제하면서, 특히 대중음악이 만들어낸 집단의 기억이나 체험과 같은 기록적 증거에서 드러난 역사에 주목한다. 이번의 출품작은 한 판으로 찍어낸 플라스틱 의자를 중국 서문(西門: Xiamen)의 도요에서 자기로 복제해 만든 것이다. 이 복제품은 어떤 주형틀도 없이 중국의 도공들이 완전 수공으로 제작한 것이기에 기계적으로 제작되는 오리지널의 역설적 관계를 보여준다. 모더니스트 가구 디자이너들이 꿈꾸었던 가구의 대량생산이 오늘날 글로벌 경제와 포스트 국가주의 자본 체계에 의해 모더니스트의 꿈과는 전혀 다른 방식으로 실현 될 수 있다면, 이를 복제한 모조 도자기 의자를 통해 우리는 자유무역협정(FTA)과 같은 교환가치체계의 의미를 되새기게 된다.
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