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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 Ashes

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관리자 2005-10-12 16:36

작가Olu Oguibe
In Olu Oguibe's installation, "Ashes", we become virtual first responders to a desolate relief in gray, an ash-shrouded setting de-centered and unfixed of meaning and focus by its lack of color. There is no body to triage, but ready evidence of an abrupt interception in a young market trader's quotidian schedule. A mental snapshot for forensics proffers evidence of a life vacated: an assemblage of clothing is laid out like a cast of its owner, one which will wait interminably for investment by its owner, the unmade bed, another cast of the missing occupant, a tumbler of water with its layered meniscus of fluid and dust, a core sample diary of recent events, framed photos on the bedside table, frozen witnesses to that which happened, a wristwatch still marking time, an alarm clock arrested in the moment, spare change from last night's events spent in the comfort of camaraderie, and the billfold which will ID the absentee. A generic dresser-drawer, nondescript framed prints on the wall, and a lone briefcase standing on the floor complete the unsettling scene, a Pompeian post-apocalyptic benediction in dust. There is no evidence of violence, but everywhere, an alluvium of ashes and a single curtain that hints at the altered world beyond.
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