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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 The Quickening

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관리자 2009-08-27 16:01

작가SUE DE BEER
Sue de Beer’s photographs, videos, and installations are often instilled with the aberrant, violent, and often bloody iconography of horror movies and the controversial teenage reactions they appear to provoke. In her films, society’s dejects, sullen, vulnerable adolescents, terrorists, murderers, and young marginalized women become caught up in grotesque iconographies culled from culture’s dark corners. In her photographs, de Beer re-creates scenes from signature films of the genre, or makes reference to the films’ characters or actors by focusing on individual moments or elements that would be recognized to the initiated.
There is also a strong feminist element in Sue DeBeer’s work. Her work for the Biennial, The Quickening, addresses the prohibition and destruction of female desire, as well as delirium, though unlike previous works exploring the dark side of youth culture, The Quickening is set in Puritan America. But the video continues de Beer's long-standing interest in societal mores, probing at the insidious ways in which morality and religion slip into oppression and misogyny - but without being preachy. Pulling from various sources (such as Jonathan Edward's 'Sinners in the Hands of an Angry God' and music by John Denver), the film documents our modern- day heroines as they are hunted down and killed. In the wake of these inexplicable crimes, we're left with only traces of sisterly caring and a defiant enigma.
- MC, NB, MD
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