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Busan Biennale 2006

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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 AKA(Also Known As)-Script for a Short Fi

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관리자 2005-10-12 16:37

작가Marco Poloni
The work takes the form of the life of a multiple man. He is a sleeper,a terrorist of a dormant cell. This man leads a discreet and studious life. He pursues his real mission undercover, concealing himself behind different aliases.
I constructed this possible story by gathering documentary information from newspapers, and then by tracking different men, met by chance in the street and in public buildings in Berlin and Hamburg. Although the work is largely fictional, some of the locations were real dwellings of the 9-11 hijacker(the Polytechnic and the apartment building at Marienstrasse 54, both in Hamburg-Harburg, Germany: scenes 13 and 21). I also tailed European men, in an attempt to question the image of the terrorist that is fabricated by western media.

The text at the bottom of each image provides technical indications:
Scene number, location and time information
Type of shot, camera movements and other technical indications,
Description of action (in italics).

I am using classical scenario-writing abbreviations: Ext/Int = Exterior/Interior, POV = Point of View, CCTV = Closed Circuit Television.
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