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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 1. Untitled(Plastic Bags) 2. Demo(n)cracy

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관리자 2011-04-11 23:01

작가Kader ATTIA
His installation of 2008 entitled ‘Kasbah’ is also related to the life of the subaltern. It refers to the modus vivend of the subaltern living at the favelas in such countries of Congo, Algeria and Venezuela. A vernacular architecture is reminded by the objects used in this work including a thrown-out galvanized roof, a satelliteantenna, cement blocks, and junk tires. Nevertheless, a very particular experience is provided to the viewers walking on the galvanized roof installed on a considerably spacious part of the gallery’s floor. It is not a everyday affair to look downward the rugged sheet zincs, and when one feels like actually walking on the roofs of others, his or her psychological experience is as much special. The lives of these favelados far from the blesses of economic globalization may look abject, but what the aesthetics of the poor is can be inferred though indistinctly from the adjacency of their lives pestering one another within the cramped and tight-squeeze of their residences. Untitled (Plastic Bags) displayed in the same exhibition space as Kasbah is also reflective of such aesthetics of the poor. These plastic bags suggesting Involuntary Sculpture by Surrealist Brassai are too feeble to support themselves, but on the other hand they are the very fugacious beings whose hollowness fills the space.


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