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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.

2010 The Cast

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관리자 2011-04-11 22:30

작가Donghee KOO
The events occurring in Koo's videos and the actions of the characters are undoubtedly dramatic, but there is no story to be found in them, nor any meaning attached to them. It is a total theatre of the absurd. If the viewer were to observe, however, the actions or the facial expressions of the characters depicted in her work, he or she would realize that the characters themselves are perplexed by the random events and the roles imposed upon them, yet at the same time they comply with the roles they have been assigned. This does not mean that they are performing throughout on the basis of a scenario, but rather that within a certain setup, they are being forced to act according to an unspecified set of rules. Naturally they do not immediately understand the nature of those rules. The viewer's attempt, therefore, to reconcile the sense of absurdity presented by the events that are unfolding turns into an investigation into what is really going on.
Koo's video work that incites this kind of psychological response in the viewer skillfully exploits the special nature of the looped single-channel images projected in the gallery space, as opposed to films being screened, as they are in a cinema, with a definite start time and finish time.
The viewer, as he or she observes the characters' psychological state, is without realizing it being submerged in that world, watching the never-ending cycle of rolling images in order to fathom the enigmatic setup created by Koo and the rules that have been imposed on the characters. The viewer is then forced gradually to recognize that the setup and the rules themselves that are the background to the events that are occurring are caricatures that possess the same quality of absurdity existing in urban life.

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