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 Bulletproofglass series #4
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관리자 2005-10-12 15:54
But there are deeper fault lines at play in her work. In Laings view, societies are composed of fictions, whose lack of substance is brought home in extreme situations: calamities in which the suspension of time offers premonitory glimpses of the future. Where the more efficient the world becomes, the more inefficient it really is. Where accidents are not haphazard and aleatory, but programmed, mediated, even over-determined. Consider JG Ballards trajectory of fate : the hidden path he saw in the early 1970s linking the spectacle of power with television images of fame and death.
These unresolvable results are Laings terrain: an anxious meltdown of Paul Virilio and Francesco Goya punched up into cinematic affectation in the photographic print.
According to Virilios analysis, chance and necessity have exchanged places, so that the contingent world of substance is increasingly shaped by the necessity of accidents. A single chance factor alters everything. There are small portents of trouble. The teeny screw in the upper leftuations: calamities in which the suspension of time offers premonitory glimpses of the future. Where the more efficient the world becomes, the more inefficient it really is. Where accidents are not haphazard and aleatory, but programmed, mediated, even over-determined. Consider JG Ballards trajectory of fate : the hidden path he saw in the early 1970s linking the spectacle of power with television images of fame and death.
These unresolvable results are Laings terrain: an anxious meltdown of Paul Virilio and Francesco Goya punched up into cinematic affectation in the photographic print.
According to Virilios analysis, chance and necessity have exchanged places, so that the contingent world of substance is increasingly shaped by the necessity of accidents. A single chance factor alters everything. There are small portents of trouble. The teeny screw in the upper left of the pitch indicator on the pilot's inste alive in the opening years of the 21st century. Its a vision of a mediated world that exists only as transmission: denatured airfields with jet planes slathered into condensed groundfog; forest landscapes frozen into a hailstorm of pixels; synthetic carpets placed in raw bluestone quarries like alien pods; stalling engines and brides falling out of the sky.
But there are deeper fault lines at play in her work. In Laings view, societies are composed of fictions, whose lack of substance is brought home in extreme situations: calamities in which the suspension of time offers premonitory glimpses of the future. Where the more efficient the world becomes, the more inefficient it really is. Where accidents are not haphazard and aleatory, but programmed, mediated, even over-determined. Consider JG Ballards trajectory of fate : the hidden path he saw in the early 1970s linking the spectacle of power with television images of fame and death.
These unresolvable results are Laings terrain: an anxious meltdown of Paul Virilio and Francesco Goya punched up into cinematic affectation in the photographic print.
According to Virilios analysis, chance and necessity have exchanged places, so that the contingent world of substance is increasingly shaped by the necessity of accidents. A single chance factor alters everything. There are small portents of trouble. The teeny screw in the upper left of the pitch indicator on the pilot's inste alive in the opening years of the 21st century. Its a vision of a mediated world that exists only as transmission: denatured airfields with jet planes slathered into condensed groundfog; forest landscapes frozen into a hailstorm of pixels; synthetic carpets placed in raw bluestone quarries like alien pods; stalling engines and brides falling out of the sky.
But there are deeper fault lines at play in her work. In Laings view, societies are composed of fictions, whose lack of substance is brought home in extreme situations: calamities in which the suspension of time offers premonitory glimpses of the future. Where the more efficient the world becomes, the more inefficient it really is. Where accidents are not haphazard and aleatory, but programmed, mediated, even over-determined. Consider JG Ballards trajectory of fate : the hidden path he saw in the early 1970s linking the spectacle of power with television images of fame and death.
These unresolvable results are Laings terrain: an anxious meltdown of Paul Virilio and Francesco Goya punched up into cinematic affectation in the photographic print.
According to Virilios analysis, chance and necessity have exchanged places, so that the contingent world of substance is increasingly shaped by the necessity of accidents. A single chance factor alters everything. There are small portents of trouble. The teeny screw in the upper left of the pitch indicator on the pilot's instrument panel hasn't been screwed the last half turn, and now the oxygen masks descend and sway·
The vectors of chance and volition whistle through Rosemary Laings oeuvre like javelins, embodying all the energetic qualities of hazardous experience.
Laings work maps these unnerving energies in savagely implicated sharp-focus shots. A complete balance sheet includes the eroticisation of technology, the reinvention of landscape and politics as branches of the media, the emergence of paparazzi as vampiric proxies for a public of voyeuristic stalkers. Moreover, Laings work thematises their own construction: the meta-act of making itself up is important to her, and it emerges in the stagey mock-ups, the facsimile surfaces and the slightly false perspectives. In a vocabulary that lurches between postmodern circumlocution and the swooning theatrical eloquence of St Theresa, these works ignite in a violent act, a choreography all about rehearsing oblivion, flirting with extinction, and miraculously escaping.