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Busan Biennale 2006

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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.


2008 LIGYUNG

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관리자 2009-08-27 16:53

작가LIGYUNG
Ligyung's Paradise Lost is resemblance to The Garden of Earthly Delights by Hyeronymus BOSCH. Ligyung adapts the reproduction of BOSCH's original work to argue on the 'Reproduction of Reproduction'. As seen in The Death of the Author, Paradise Lost talks about the artist's unique gaze and question about 'seeing,' which is provoked through the inundation of images as well as the doubts about the uniqueness of the original work. Hyeronymus BOSCH's The Garden of Earthly Delights, which symbolizes the Garden of Eden, human world, and hell, exist in Paradise Lost, transformed as scenes in reality that we often encounter in the daily surroundings. Eye-stimulating imagination and numerous shards of reality excel the expansion of thinking, repeating collision after collision, through the eight-layer lenticular. The layers of different images seen from different angles symbolize the unique gaze of the artist who cannot face either the reality or the truth by superficial gaze. Paradise Lost, degraded from The Garden of Earthly Delights, is a recreation of reproduction of Ligyung's gaze on contemporary realities, of which the paradise is deprived, as the reproduction of worn-out and common master pieces. Aesthetics of borrowing, disguised in indiscriminate consuming pattern, seems to have found its direction in Ligyung's Paradise Lost. Further, the artist's constant attention on 'faultiness of believing what is presented' is also seen in the work. Ligyung's work is intriguing in the fact that it triggers our thinking apart from the dichotomous decision. And it is also interesting to know that the artist's system of philosophical thinking is directly related to the distinct characteristics of the media. The aesthetics of a relationship that elevates each other's value pervades in Ligyung's Paradise Lost, and it seems not to have lost all that shines and radiates.
- LEE, Seon-hwa, " _ Infinite Gaze Seen by 'Reproduction of Reproduction'", Art in Culture(May, 2000)
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