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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.


2006 Can Altay

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관리자 2009-08-26 15:19

작가Can Altay
TURKISH ARTIST CAN ALTAY has been carrying out sociological exploration and documentation of Ankara\'s social spaces from the perspective of urban planning, urban design, and architecture. Using videos, slides, texts, and sound recordings he has been focusing on how public space in the great of the city is privatized. For example in Minibar, his most recent work before the Busan Biennale, he shows an example of how young men appropriate a particular architectural space in Ankara and use it for their nightly gathering. Such appropriation of urban architectural spaces re-discovers the social relations and use values inherent in all architectural spaces. For his work in the Biennale, Protection (Neighborhood Nightclub), Altay has collected twenty-seven used TV sets from homes in Busan, and he shows the blinking of security lights that one can easily encounter in residential neighborhoods of Ankara. His motive here is to break down the boundary between the public and private spheres.
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