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Busan Biennale 2008

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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.


2008 천사

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관리자 2009-08-27 16:45

작가BHARTI KHER
Through a shifting interplay of gender binaries and physiological hybridities, Bharti Kher's artistic practice has described a long-term negotiation of her identity in India. In her work, she explores questions of identity, multiplicity and tradition; she introduced a series that transformed bindis, part of a traditional feminine iconography, into patterns evoking male sperm and genetic chains; For other projects, she has used sculptural installation to manipulate issues of autobiographical and cultural identity. Her 2004 "Hybrids" photographic serie showcased composite, textured monsters that boasted human and animal, male and female, mythic and mundane parts. Partly a subversion of traditional ideals of femininity, Bharti Kher's creatures also indicate the unresolved mutability and complexity of contemporary, hybridized urban culture: “what I’m trying to do is to create a sense of the bizarre that carries the work away from what we already know and also reference the place and politics of the woman in these interior spaces.... with its claustophobia, anxiety and sexuality… suggesting that the animal human hybrid is anything but not pure in any way shape or form... like a bastard generation with a clean slate and multiple identities.”
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