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.
2012 Innere Stimme, Notation as an Instruction for a Performance Lithograph
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관리자 2013-03-25 09:44
Innere Stimme, Notation as an Instruction for a Performance Lithograph
SAMANI, SOME PROPOSALS TO ANSWER IMPORTANT QUESTIONS
Samani is a computer-operated spotlight that moves up and down on a pole, thereby rotating on its own axis while changing speed or pausing for a moment. The installation transforms the entire space into a nervous pattern of light and shadows. And yet, Samani is more than just a visual gadget. The sound of the automaton underscores the spotlight’s restless, even delirious, yet seemingly methodical query.The subheading for Samani refers to the work as “a proposal to answer some important questions”, but gives no hint as to the nature of those questions. There is probably no way around this vagueness; artworks know of no explicit formal language. The fact that the artist is not content to simply raise important questions (a worn-out formula of critical art), but tries to answer them seems an admirable ambition. It calls for nothing less than a new classicism.
The Inner Voice is a sound piece that turns the human body into an instrument. It is performed over a long duration by singers, or exhibition visitors who want to join in. Their singing follows a series of notes that Robert Schuman inserted into his piano piece Humoreske, Op. 20, between the staffs played by left and right hand. The status of this middle staff, which Schuman called the “Innere Stimme“ or “Inner Voice” is uncertain. “Because this piece is written for unaccompanied piano”, writes Jean-Luc Nancy in his essay on Nicolai’s piece, “this middle staff cannot be sung. The pianist could conceivably hum it, but that isn’t his or her role. Instead, this may be an invitation to sing the tune inwardly and soundlessly. Or it may be an invitation to watch before him the exhibition of the very thing that can’t and shouldn’t be played or sung: the inside of music, the innermost intimacy at play between both hands” (in: Olaf Nicolai—(Innere Stimme), Notation as an Instruction for a Performance, 2010, ed. by SBKM/De Vleeshal, Middelburg in collaboration with Roma Publications, Amsterdam, p.9-10).