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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 과잉의 경제

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관리자 2009-08-27 17:10

작가KAREN RUSSO
Shot inside a sewer system in Essex, UK, by a small robot camera usually employed to locate blockages, Karen Russo’s video The Economy of Excess (2005) takes us into a subterranean world in which the waste of Capitalist society circulates like blood through a vital, hidden heart, or the teachings of a hidden sect. On this hypnotizing journey, we encounter extraordinary natural light effects, and the disquieting, although oddly beautiful, sight of excreted fat clinging to the sewer walls, its surface recalling burnished gold, as though it has undergone an alchemical transformation. Straddling the mundane and the sublime, the work suggests that to accept that human life is composed of both shit and stardust is a path to wisdom, even a form of rebirth. The Economy of Excess may be usefully read against the artist’s recent photographic project, Mole Man (2007-8), which records the tunnel complex illegally excavated by William Little underneath his East London home. This obsessive undertaking has, for Russo, a parallel in artistic production ? an activity that has no functional value, save perhaps for flaring off energy not expended on our biological survival.
- TM
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