스킵네비게이션

Archive

Busan Biennale 2008

이전메뉴 다음메뉴

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 머리가 없는 사회

Read 11,610

관리자 2009-08-27 15:57

작가JESSE BRANSFORD
Through his work Jesse Bransford tries to readdress the notion of an object’s relation to its surrounding space, by “collapsing” space itself in a way akin to technical schematics. His interest in nonlinear cosmology further emphasizes the notion of blurring time and space, drawing together historical symbols that are at first glance disjunctive but in fact related through a sort of creative alchemy. For example, Utopia/Mirror (2003-2005) includes both a Medieval city surrounded by high, seemingly impenetrable stone walls, and a satellite orbiting above, a symbol of surveillance and infiltration. This work points also to the artist’s interest in astrology, the Middle ages and the occult, as they relate to a contemporary mysticism of technology and the World Wide Web. For the Biennial, Bransford will create two murals in two rooms within the museum ? one representing an archaic psychic space and the other a futuristic psychic space ? with the intention of disrupting the common-sensical notion of past-present-futurity in favor of a more fluid understanding of temporality. The work will hopefully conjure up an awareness of the relation between the viewer’s physical condition and time/space, and shed light on the notion of timelessness, an idea the artist often relates to the dream and the evolution of ideas.
- MC, NB, MD

TOP