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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 Seung Wook Koh

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관리자 2009-08-26 16:02

작가Seung Wook Koh
고승욱은 퍼포먼스-영상<엘리제를 위하여>에서 바퀴 달린 평판 위에서 베토벤의 피아노 소나타 <엘리제를 위하여>를 연주하는 피아니스트를 온몸으로 끌어당기는 퍼포먼스를 보여준 바 있다. 차력사와 같은 괴성을 질러대는 작가의 혼신의 노력에도 아랑곳하지 않고 태연히 연주하는 피아니스트 모습과 그 연주무대를 연결한 끈을 귀에 걸고 잡아당기는 작가의 몸부림은 보는 이의 시선을 잠시도 놓아주지 않는다. 작가는 안간힘을 쓰면 쓸수록 귀를 틀어막게 되고 피아노 연주무대는 점점 화면의 중앙으로 밀려온다. 한국에서 서구 현대미술을 수용하고 실천해야하는 작가의 모순된 상황을 잘 묘사한 작업이었다. 이번 비엔날레에서는 공중곡예사의 시신을 담은 관을 수직으로 묻는 장례식을 담은 영상작업과 수평으로 길게 잡아 뺀 두루마리 화장지 설치작업을 동일한 공간에서 보여준다.
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