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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 살아 있는 듯한

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관리자 2009-08-27 17:09

작가AIDA RUILOVA
Aida Ruilova’s single-channel videos are built upon a stream of images that provide links to oblique relationships. Employing the cinematic device of montage, her work explores the gap between an individual’s psychological state and a neurosis shared by all who live in the increasingly nebulous world of the ‘global village.’ The rapid jump-cuts in her short videos either combine music or allude to musical sounds, creating narratives that are strangely familiar yet steeped in obscure symbolism. For Ruilova, her interest in musical video lies in the gap between the audio and the visual, at times forcing the viewer to ‘visualize’ sound. Peeling back the layers of Ruilova’s work one can find a mixture of gothic and B-movie horror with traces of a bittersweet coating. Her visual style is clearly influenced by Eisenstein’s filmic techniques in the fracturing of time, empowering viewers with the tools to come up with their own conclusions. In balancing her work, Ruilova skillfully manages to merge the opposing strategies of another filmmaker, Tarkovsky, who concentrated on “filming a psychology of mind-states, remembrances, ambiences, and other-worldliness.” Prevalent in her work is a critique of the social psychosis that instigates sensations of isolation, self-destruction, and absurdity. Ruilova’s work for the Biennial, “Life like”, emerged out of letters she exchanged with exploitation film director Jean Rollin.
- MC, NB, MD
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