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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 Night Passage
Read 7,926
관리자 2005-10-12 16:42
작가Trinh T. Minh-ha
Aside from wishing to sensitize people to other ways of experiencing film, I also hope that the exhibition of my work will contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practiceswork will contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practiceswork will contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because ital artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I believe one should struggle at the front where one is best. Art is form of production. Aware, however, that oppression can be located both in the story told and in the telling of the story, an art critical of social reality neither relies on mere consensus nor does it ask permission from ideology. The works I have been producing can be viewed in general as different attempts to deal creatively with cultural difference. They seek to enhance our understanding of the heterogeneous societies in which we live, while inviting the viewer to reflect on the conventional relation between supplier and consumer in media production and spectatorship.
Extract from artist statement, Trinh T. Minh-ha
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practiceswork will contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practiceswork will contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I belie contribute to redefining the notion of "audience", by which people tend to confuse marketing power and standardization of needs with the ability to speak across boundaries of language, class, gender, and culture, for example. By working on the very limits of the known and unknown audiences, I am bound to modify theses limits, whose demarcation changes with each work and remainunpredictable to me. Unlike commercial work or straight oppositional work, critical artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because ital artistic work does not offer immediate solution nor immediate gratification. They are not immediately useful or effective and but can act in the long term, haunting their viewers, changing their perception of life. As Robert Bresson nicely put it, "to be original is to wish to do like everybody else without ever succeeding to do so."
It is said that the artist is lke a seismographic needle-one who feels with acute intensity the slightest changes that occur around her, one who remains keenly alert to what tends to go unnoticed or to be taken for granted in daily life. Artists are often threatened by the common opinion that a society can very well do without art and that their activities in urgent political situations are of little value. But throughout the course of history, across cultures and nations, one also knows that the artistls activity is considered suspect because it disturbs the status quo or the comfort and security of stabilizedmeaning and normalized practices. I believe one should struggle at the front where one is best. Art is form of production. Aware, however, that oppression can be located both in the story told and in the telling of the story, an art critical of social reality neither relies on mere consensus nor does it ask permission from ideology. The works I have been producing can be viewed in general as different attempts to deal creatively with cultural difference. They seek to enhance our understanding of the heterogeneous societies in which we live, while inviting the viewer to reflect on the conventional relation between supplier and consumer in media production and spectatorship.
Extract from artist statement, Trinh T. Minh-ha