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 독재자를 비웃다(정신분열적인)
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관리자 2009-08-27 17:01
Having mainly played women, with the series A Requiem starting in 2006 Morimura turned his attention to male roles. His first subject was the writer Mishima Yukio, who killed himself by ritual disembowelment at a Japanese SDF base in 1970. In the work-on-video A Requiem:Mishima, Morimura reworks the speech made by Mishima just before his suicide into a scathing critique of contemporary society and in particular the commercialism of art. Since then, borrowing male figures now reduced to mere political icons for mass consumption such as Che Guevara, Lenin, and Mao Zedong, he has continued to pitch his message, pulling no punches, from a present-day perspective. Of special note is Laugh at the Dictator, which contrasts the figure of the venomous dictator with the earnest message of the artist himself, channeling Chaplin's The Great Dictator, to highlight problems that remain unsolved even in the 21st century.
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