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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.


2016 Everything is Gonna Be

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관리자 2016-08-23 10:57

작가Katarina ZDJELAR
Katarina ZDJELAR, <Everything is Gonna Be>, Video , 3'35"(loop), 2008

Katarina ZDJELAR
Everything is Gonna Be

Katarina Zdjelar's video <Everything Is Gonna Be>(2008) alludes to the Beatles song ‘Revolution’, which the artist transfers to the Lofoten Islands in Norway, where it is sung by an amateur choir. Their lullaby-like way of singing the chorus forces the song to take a disturbingly uncritical tone. The work reveals both the critical distance to upheaval in the lyrics, which John Lennon wrote in 1968, and the ideological distance between the meaning of the song and the middle-aged people that appear in the work. Zdjelar’s interest with this work also lies in the process of physically manifesting uncertainties, in the attempts to perfect one’s performance as well as in the production of a collective out of singular voices. With a focus largely on the intimate presence of the individuals, the work is charged with an ambiguous sense of hesitation – a reserve that may suggest inability to let go and express oneself, or unwillingness to be either individual in all its imperfection or to merge into the communal voice and feeling. The singers-speakers give a sense of distance and coldness towards the song they sing, and even though they perform it, what they bring across seems more ominous than hopeful.
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