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Busan Biennale 2018

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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 Cocksong/Shout/Holly Wood/Gathering

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관리자 2009-08-26 17:30

작가Lilibeth Cuenca Rasmussen
RACIALLY MIXED FROM THE DANISH and the Philippine descents, Lilibeth Cuenca Rsmussen work uncovers the differences between the two cultures. In her work, the body moves cress the cultures and becomes the site in which both difference and homogeneity are registered. The four pieces presented t Busan Biennale also take the artist's own racial and cultural identity as a point of departure. The annual performance that takes place in the Philippines, entitled Holy Wood which shows the passion and resurrection of Christ uses Marilyn Manson's album of the same name from the year 2000 in exploring the fundamental difference between the two cultures. Considering the anti-religious music of Manson along with the images of the rituals of Good Friday in which Christ I crucified, the culture differences become juxtaposed by those of worldviews. By editing the images of the fundamental Christians in their rituals according to soundtrack, the congruence and incongruence between the sound and images crete kind of pleasure for the viewers.
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