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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.


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관리자 2011-04-11 22:29

작가Tae Hun KANG
Kang Tae Hun delves into how diverse mechanisms of capitalist society repress the minds of individual beings. He makes use of everyday objects and texts to deliver in the metaphoric and symbolic manners his observation of multilateral social phenomena being generated in the whole world including South Korea and other Asian countries from a critical point of view. His early works, shown in Germany and South Korea, directed his eyes to the repressive relationships between the powerful and the individual, which were conveyed by the use of faucets and other objects that could be found in daily life. The invisible repressive power to control and coerce someone else is materialized by the faucets attached to various objects such as stuffed animals, eggs, books, life buoys and high heels, and it was presented as the historical and realistic power of a nation to lock up the true nature of an object and the autonomy of the individual. Kang argues that power does not exercise physical and actual suppression and that a more fundamental problem is that it has placebo effects to appease all kinds of stresses and resistances generated in everyday life by interfering in the unconsciousness of the public.

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