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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 녹색형상

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관리자 2009-08-27 16:57

작가CHRISTINA MACKIE
Christina Mackie’s sculptures, paintings, drawings, and videos emerge from thoughts that, although they are pursued with an almost scientific rigour, have the quality of a mood, a private musing, or even a dream. As such, they do not cleave easily to the conventional tools of critical understanding, and are best comprehended out of the corner of the mind’s eye.
Unexpected juxtapositions characterise the artist’s works, which, once encountered, feel like they describe something we have forgotten, or always knew but could never quite express. In her video installation Breugal Boots (1999), she presents murky footage of commuters on the London Underground shot from the knee down, walking away from the camera towards an unknown fate. Now and then, their feet are overlaid with colourful animations that suggest viruses glimpsed under a microscope ? a presage, perhaps, of death caused not by disease, or violence, but of the indifferent city itself. On another screen, a leafy treetop gently strokes the sky, like a mother stroking the forehead of a sick child. The point, here, is not a journalistic contrasting or urban and rural, but an exhibition of sympathy, and the evocation of a fugitive set of feeling-tones.
- TM
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