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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 소우주

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관리자 2009-08-27 17:00

작가XIAOCHUN MIAO
Cyberspace isn’t any objective reality. It is a first person experience and has a completely subjective character. In order to move sensually in it we need aids, artificial limbs, just as Christian religion needed Jacob’s ladder to create an image of the human soul ascending from earth to heaven and the descend of the angels as God’s messengers. Miao Xiaochun’s floating figures lost their footing long ago. They also use crutches within the stepless space, the ladder, the cogwheel as master artefact of mechanics, a boat, a bundle of arrows, standing for the power of destruction as well as for the possibility of fertilization within the European Mythology and which can be found in numberless allegoric images of electricity, mainly during that time at the end of the 19th century when the new media were founded.
- Siegfried Zielinski , from Miao Xiaochun-Discovering the New Within the Oldy

The external position that Miao Xiaochun adopted in composing this scene is thus not simply perceptual, but also historical and intellectual. Whereas the digital technology allows him to see Michelangelo’s work from an unexpected angle, it also implies a historical distance, across which he can reflect upon the Renaissance masterpiece critically. This critical position makes him a modern-day interpreter/translator of The Last Judgment. Unlike an art historian or art critic, however, he conveys his observation/interpretation through images.
- Wu Hung , from Miao Xiaochun’s Last Judgment
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