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 O.V.0/2003/Extracts
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관리자 2005-10-12 15:54
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or ths. We mediate these situations.
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or ths. We mediate these situations.
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter plary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or that", the question brings us back to situations of enunciations therefore to relations tying up.
One can say that all our devices contribute to ask this question: "how do you see this or that?" It is the display of this inquiring form that interests us.
To place ourselves on this plan, we use non-cinematographically techniques of montages, which questions permanently the gaze. There is a whole relation of the image to the gesture sterilizing expectations, convenient to open up the way to an interpretative gaze.