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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 Gisoo Kim

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관리자 2009-08-26 15:59

작가Gisoo Kim
FOR NEARLY a decade Gi Soo Kim has been working with the theme of Sungnam City where he was born and raised. The people who were the subject of the notorious forced eviction from Seoul to Sungnam City due to the demolition of Low-Income neighborhoods in the 1970S represent the story of distorted lives in our modern and contemporary history. The stories from the era of rapid economic development that has long been pushed out of our memories are not reawakened through some traces of historical testimony or preserved documents. Rather, such memories are objectified through the space of oblivion in which the traces of the past have disappeared. Kim\'s color slides that capture the interstices between multi-unit housing complexes, or his thread-on-canvas work with the quotations from Hong Gil Yoon\'s novel The Man Who Is Left as Nine Pairs of Shoes, casually point at the vacant archive within our collective memories.
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