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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.


2010 Cosmic dust collection (Extraterrestrial Smithereens)

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관리자 2011-04-11 22:31

작가Dane Mitchell
His project for Busan Biennale will open up even to a cosmic dimension. By means of satellite dishes, dust is magnetically accumulated. "CosmicDust (Interplanetary Dust Particle Collection)" carries on with what Mitchell has been collecting in his dust archive since 2003: dust. He has developed a metaphor and set a motif that undermines all expectations of "purity" in art. Dust in its particles is not easily recognizable. Material emerges first as a cluster of dust particles accumulated by invisible, magnetic forces. Dust comes from out of nowhere. On the other hand, the satellite dishes that collect this dust, by their form, relate to scientific or even military equipment. They embody the idea of sensuallygrasping the invisible, the information from outer space or the coded signals from unknown enemies. Dane Mitchell creates by means of his installation an iconicity to question visibility and understandability of art in the context of the Biennale.
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