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 Sportswoman, from Museum installation
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관리자 2005-10-12 15:53
Kulik's projects of the last years Windows, Slogans, Museum of Nature or the New Paradise, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing fee, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing fee, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing feeling that he stuffed the live and real women, with their recognisable attributes of Sportswomaneum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing feeling that he stuffed the live and real women, with their recognisable attributes of Sportswoman, Actress, Madonna (braid, diaper dress, fake conical breast).
Museum is the next step in development of Kulik's utopian thesis that there's a zone of unconventional reality in art. Which reality allows to represents itself only when it is ultimately remote from accepted aesthetic rules.