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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.


2010 Let There Be Light

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관리자 2011-04-11 23:06

작가Ha Bongho
Since his last solo show at Tokyo in 1986, Ha Bongho has devoted himself to commercial photography for the last two decades. his body as a commercial photographer was merely a part of the camera, and the suffering body in his video performance includes both his own body and the video camera. Let us take a look at Vital Signal. In this recent performance work of his, his own mountain climbing, which took nearly two hours, is shown with no editing. The body of the artist’s own climbing the steep winter mountain with lingering snow without even a second of rest is increasingly clearly perceived by the viewers as his violent and almost deadly breathing, which is never visible in the picture plane, transforms itself into groans. Not only his body but also the camera hangs between life and death as it accompanies the artist at the height of his knees in the climbing of the acclivity of the bumpingly approaching mount. The ‘death drive’present in this climbing performance is shifted to a more introspective dimension in Let There Be Light shown here. The iris heated into a burn being exposed to the strong light for many hours is intensely contrasted with the pupil that resembles a abysmal black hole. Presented in front of the viewer, the mammoth enlargement of the eyeball which is projected onto the entire screen looks like an image of a planet transmitted via a man-made satellite. The question thrown by the artist here is significantly metaphysical. Can it be said that the history of the gaze has transcended that of mankind and is now evolving into that of the universe?
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