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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 슈바르츠발트의 통나무

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관리자 2009-08-27 16:00

작가STEVEN CLAYDON
Steven Claydon’s sculptures, paintings and films perform dense explorations of cultural counter-factuals and historical might-have-beens. Drawing on the taxonomic practices of (now discredited) 19th and 20th Century anthropologists such as August Pitt Rivers and Sir James George Frazier, his works present the past as a stratified fiction, and the future as something much the same. The result are works of art that resemble ethnographic objects from a parallel world, displayed in a manner that combines the visual languages of both Minimalism and of the Victorian museum. One the upper level of his shelf-like sculpture A Lark Descending (Preparations for Leda) (2008), what might be a classical bust of the god Zeus grows a beak, taking on animal form to carry out his most infamous seduction (birds, for Claydon, are symbols of rapacious self-interest). Beside the bust sits a steel I-beam remade in ceramic ? an object that transforms a phallic icon of Modernist functionality into a fragile, functionally useless work of art. On the lower level, a draftsman’s tool is held in a clamp, a length of yellow hose is coiled like a sleeping snake, and a modest piece of plywood is presented as though it were a valuable relic. What is in question here ? as in all Claydon’s works ? is what is valued, and why, and what power relationships those decisions reveal.
- TM
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