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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 Tropical Breeze

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관리자 2009-08-26 16:13

작가Mika Rottenberg
THE ALIENATION OF labor in capitalism has been the consistent theme of the Argentine-born artist Mika Rottenberg. The physical labor essential for the production of goods in factories is the central element of productivity, but in the artist\'s video work the movement of all individual body parts receives new meaning. The characters appearing in the video are all either obese or people of color who are pressing down on a pedal, twisting, pulling, or rubbing a body part. They show many different bodily movements. However, in as era dominated by fragmented subjectivity and non-individuality, they are portrayed as people with holistic subjectivity with singular character. The work is aware of the economic trends dominated by the theory of value cycle, and it suggests a fictional production precess where bodily secretions, such as sweat, and other bodily byproducts, such as finger nails, are used as major raw materials.
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