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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.
2004 Bus
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관리자 2005-10-12 16:32
작가Juul Hondius
These photographs are staged. Virtually all of Hondius' images have to do with mobility and borders, and ensuing problems such as smuggling and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'as smuggling and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'as smuggling and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'naturalneing and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily rece veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'naturalneing and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'naturalneing and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'naturalneing and other crimes, civil war and immigrants 'penetrating' the borders of the nation state. Hondius' glossy depictionsof politically charged scenes cause a flash of recognition. The settings of his works are in this way a kind of fictions based on facts. They come close to media messages or documentary photography. Also personal issues of people are narrated through in his photos as though they were 'possible real situations' which are constructed. At first sight the objects and persons in the photographs may seem commonplace and easily recognisable for everybody, but how these shapes came into existence remains unclear. The lack of information feeds these images with a remarkable feeling of threat, as if they are part of a world withholding its secrets, and therefore remains uncontrollable to the viewer. The final photograph depends on a very strict setting; the choice offigures, their clothing, attitudes or postures are very precise. Nothing depends on chance. Factual references to place, time or person fall into the background or disappears from the image. His main interest appears not to be the veracity of an image, but the development of a critical iconography of the present. Hondius' work shows a 'mental image' that appeal to our collective memory, avoiding all 'factualities' which draw away the attention from the protagonists in the scene. Although Hondius does address the question of the photographic construction of 'naturalness' through a canny actualization of visual clichs, his overriding interest seems to be the way in which these clichd yet new images form part of a pathological iconography - an iconography oftravel, stemming from and fuelling a widespread fear and fascination of globalized flows of commodities, capital and humans.