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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.


2008 8번, 모든 것이 잘 될것이다.

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관리자 2009-08-27 17:17

작가GUIDO VAN DER WERVE
Steeped in melancholy, although also alive to the absurdities of life, the films of Guido Van der Werve take rigid conceptualism, and rub it up against the very human stuff of romanticism and laughter. We might see his work as an act of mourning for a time when it was possible to see one’s soul mirrored in stormy sea or a majestic mountain - in one recent work, the artist stood for 24 hours at the geographic North Pole, refusing to turn with the world, an impotent protest against a future he must inevitably inhabit. For the Busan Biennale, Van der Werve will exhibit the film Nummer acht: Everything is going to be alright (2007), in which we see him walking in front of an icebreaker ship in the Gulf of Finland as it makes its way through the frozen seas. Looming behind him like a vast killer whale, the ship, for all its brute force, is less effective at negotiating the arctic ice than the vulnerable figure of the artist. For a moment, it seems as though this is a parable of human superiority to the machine world, until we remember that without the protective shell of the ship, Van der Werve would never have been able to reach this inhospitable zone in the first place. This is not an image of man at one with nature, then, but of an excessive survival strategy, both sublime and ridiculous.
- TM
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