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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 Olympia/La Spezia/Lavina/Body VS

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관리자 2009-08-26 16:44

작가Alicia Frankovich
FRANKOVICH IS CONCERNED with how the specific qualities that objects and space generate can influence the audience. The departure point for her work is to investigate what kinds of effects can be generated through installation of her work while considering the physical and social specificity of the site, s well as the visual experience and physical movement of the audience. She deconstructs the immense architectural structures that impose certain limitations on our daily lives by using diverse materials in her installations and creating image-banners. The result is a subversive space that is in flux. Frankovich's contribution to the Biennale consists of five banners, with printed images on the wall of the Pusan National University subway station. By transforming the form of the gargantuan structures into highly minimized form to the point of near evaporation, the banner's design invites the audience to reconsider the basic structure of the actually existing, solid objects, and to view the very structure that behaves as the backdrop of the banners in a fresh way.
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