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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 주문제작GTR스포츠카 레플리카

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관리자 2009-08-27 17:02

작가TETSUYA NAKAMURA
Tetsuya Nakamura is a representative Japanese pop artist. His works present the idea of speed, shown through surfaces and exterior forms. Nakamura’s works do not have the auxiliary power of Mach Go Go Go’s jet-propelled equipment, but his work shows the elegance and flowing body of Formula racing, whose speed and power are reflected in the glossy surface of the vehicle. In particular, the surface is especially charming. Its brilliance cannot help but catch the viewers’ eye. Therefore, Nakamura’s work needs no special mechanism like Mach Go Go Go because its surface already reveals the nature of its reality. The sole body is enough to satisfy the viewer.
Heroes and heroines, who deal with technological equipment in modern society, represent advanced civilization. The civilization and its formal characteristics, represented by machines and speed, become a common environment and experience for the residents of the Pop Kingdom. Mechanical forms and substances are not merely the central elements of material civilization, but they become the essence of the civilization itself and represent a desire for endless speed. One is forced to discern between the true nature of society and civilization and the characteristics of the modern world.
- Noam Kim, from Speed Part
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