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.
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관리자 2009-08-27 17:17
Accordingly, they chronicle his encounters with Neo-Nazis, Israeli ‘settlers’, and Islamic Fundamentalists, see him chase the dragon with homeless junkies in a Rotterdam ‘shooting gallery’, flirt with homosexuality, and, on a visit to a centre for the mentally disabled, embrace ‘madness’ as a lifestyle that allows him to forget about all the petty neuroses that a ‘normal’ existence entails. In each of his excursions, Van Lieshout mercilessly exposes his own hidden prejudices and atavisms. Far from confirming his liberal political position, his films consistently call it into doubt. No more so is this true than in his work Rock (2006), which focuses on his somewhat fractious relationship with a rich businessman. Central to the video is the question of how an artist, or indeed any thinking person, should react to conspicuous wealth. Should one aspire to it, or crumple under its oppressive weight? Should one respond to it by finding another set of values elsewhere, and laugh behind its avaricious, gaudy back? As van Lieshout’s video uncomfortably reveals, there is often a hollowness to such laughter, the sound of a cold wind whistling through an unprotected soul ? as Martin Amis wrote in his novel Money: A Suicide Note (1984): ‘Without money you are one inch high. And you’re nude, too’.
- TM