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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 MARNIE WEBER

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관리자 2009-08-27 17:19

작가MARNIE WEBER
Los Angeles-based artist Marnie Weber makes genre-defying work. Her flights of eccentric fancy are part costume drama, part opera, and part film and photography; but the organizing principle of her art is collage. Using a semi-regular cast of costumed animal and human characters, she has created, over the span of 20 years, a series of videos, collages, sculptures and performances that elicit the uneasy vulnerability and eerie certitude conveyed by the classic tales of Hans Christian Andersen and the Brothers Grimm. Weber focuses on the construction of fictional narrative through theatricality, drawing on images from childhood and female fantasy. In her work for the Biennial 'The Endless Sea,' part of a series of works involving the 70's musical group 'The Spirit Girls,' one of the members is presented in a small derelict boat, adrift at sea with her animal friends. Questions arise in the viewers mind concerning their condition, as struggling victims or travelers on a journey of spiritual development, and concerning their location in a realm material or otherwise. The pleasure of Weber's works is rooted in their ability to playfully remind us how much our relationship with images depends on a suspension of disbelief that isn't reserved for the matinee and how much suspending that suspension can be just as entertaining.
- MC, NB, MD
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