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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.


2008 The Golden Years

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관리자 2009-08-28 10:16

작가Eko Nugroho
"Tahun-Tahun Emas", or its English translation, "The Golden Years", takes on the heavy weight issue of Indonesian history, and the forces and phenomena which have continued to shape the understanding of the nation's past. Here, the hallowed and the sacred are turned on their heads and transformed into a carnival-like, comic-inspired, apocalyptic sci-fi diorama. The numbers inscribed on the giant golden grinning skulls: 1945, 1948, 1965, 1998, 2002, 2004, 2006 represent the turning points in Indonesian history, the 'golden' years marked with violence, bloodshed and despair. Embroidered flags bearing unconventional emblems? A leaf, a flying saucer and a chimney? are planted haphazardly around the room, reminiscent of those used on battlefields during medieval times. In this instance, the flags are no longer potent patriotic symbols or symbols for political legitimacy. They are denied their semaphoric function, transformed into silly objects. The role of humour, pop and banality in this installation are empowering interventions to subvert the solemnity of history. It attempts to wipe away the fear and ambivalence associated with Indonesian's reading of the past by transporting audience to a transgressive realm of humour and imagery.
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