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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 Trackers

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관리자 2009-08-26 16:15

작가Ahlam Shibli
THE PHOTOGRAPHIC work of Ahlam Shibli is focused at the lives of his surroundings. He captures the situations of Palestinian residents under Israeli occupation. However, it is not through feeling compassion for or taking pity upon their poor lives, but rather objective distance that he attains a remarkable sense of symbolism in contemporaneous lives. The eighty-seven photographs in the series Trackers, shown at the Biennale, deal with the Palestinian who are of Bedouin descent, but are currently on duty or those who have served in the lsraeli army. The angles of camera and the gazes of the subjects invariably imply the extreme difficulty for us to imagine what it is like to survive as a minority or the price one has to pay in order to be treated differently.
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