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 Spielberg\'s List
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관리자 2005-10-13 11:36
Using its tow channels to cut, mix and juxtapose footage of the Plaszow camp set with its neighboring Plaszow camp site, interviews of extras who describe events from the film with those which run back farther in time, as well as segments recorded during f Steven Spielberg's film "Schindler's List." Spielberg shot his film on location in Krakow and employed hundreds of area residents for the dramatic recreation of the local historical events on which the movie is based. A number of the extras are old enough to have also experienced these events as they occurred earlier in their own lives. Their recollections as witnesses and as viewers indeed their duplicate first-hand experiences bracket a fifty-year span during which events turn into movies; memory into filmed narrative. The rapid disintegration of difference between memory, document, image and narrative also finds a corollary in place: an elaborate set of a concentration camp was built for the film on a site adjoining the former concentration camp and never completely dismantled. Both camps now deteriorated, half-buried and largely unmarked bear a greater verisimilitude with the passage of time as their monumentality entwines, real with referent. ("Schindler's List Tours" are given year-round with visitors taken to both 'real' and 'film'places: the movie has played a significant part in the revitalization of business and tourism in Kazimierz, the former Jewish Ghetto in Krakow.)
Using its tow channels to cut, mix and juxtapose footage of the Plaszow camp set with its neighboring Plaszow camp site, interviews of extras who describe events from the film with those which run back farther in time, as well as segments recorded during f Steven Spielberg's film "Schindler's List." Spielberg shot his film on location in Krakow and employed hundreds of area residents for the dramatic recreation of the local historical events on which the movie is based. A number of the extras are old enough to have also experienced these events as they occurred earlier in their own lives. Their recollections as witnesses and as viewers indeed their duplicate first-hand experiences bracket a fifty-year span during which events turn into movies; memory into filmed narrative. The rapid disintegration of difference between memory, document, image and narrative also finds a corollary in place: an elaborate set of a concentration camp was built for the film on a site adjoining the former concentration camp and never completely dismantled. Both camps now deteriorated, half-buried and largely unmarked bear a greater verisimilitude with the passage of time as their monumentality entwines, real with referent. ("Schindler's List Tours" are given year-round with visitors taken to both 'real' and 'film'places: the movie has played a significant part in the revitalization of business and tourism in Kazimierz, the former Jewish Ghetto in Krakow.)
Using its tow channels to cut, mix and juxtapose footage of the Plaszow camp set with its neighboring Plaszow camp site, interviews of extras who describe events from the film with those which run back farther in time, as well as segments recorded during the "Schindler's List" tours, the video deliberately mishandles its material, foregrounding memory and place as both expanded and put under considerable duress when history turns (in)to fnts on which the movie is based. A number of the extras are old enough to have also experienced these events as they occurred earlier in their own lives. Their recollections as witnesses and as viewers indeed their duplicate first-hand experiences bracket a fifty-year span during which events turn into movies; memory into filmed narrative. The rapid disintegration of difference between memory, document, image and narrative also finds a corollary in place: an elaborate set of a concentration camp was built for the film on a site adjoining the former concentration camp and never completely dismantled. Both camps now deteriorated, half-buried and largely unmarked bear a greater verisimilitude with the passage of time as their monumentality entwines, real with referent. ("Schindler's List Tours" are given year-round with visitors taken to both 'real' and 'film'places: the movie has played a significant part in the revitalization of business and tourism in Kazimierz, the former Jewish Ghetto in Krakow.)
Using its tow channels to cut, mix and juxtapose footage of the Plaszow camp set with its neighboring Plaszow camp site, interviews of extras who describe events from the film with those which run back farther in time, as well as segments recorded during the "Schindler's List" tours, the video deliberately mishandles its material, foregrounding memory and place as both expanded and put under considerable duress when history turns (in)to film.