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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 ANDRO WEKUA

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관리자 2009-08-27 17:19

작가ANDRO WEKUA
Fragmented, sometimes-fictionalised recollections from Andro Wekua’s childhood and adolescence in Georgia feature heavily in his paintings, drawings, collages, sculptures, installations, texts and films: Soviet propaganda and a ping pong table behind the family house, a mathematics teacher who cut clumps of hair from his head and a twin named Nonha who died in a motor accident, the flag he wore wrapped around his arm at his father’s funeral, a girl who allowed him to unbutton precisely four buttons on her blouse, and people making love on a hotel staircase in the midst of a civil war. The artist is not concerned, however, with memory as a defense against forgetting, but instead as a fraught, occasionally playful form of theatre in which atmosphere is more important than plot, and in which structure is provided not by the diligent recollection of verifiable events, but by the way something remembered, misremembered or even invented (an image, a mass, a feeling tone) cross-pollinates with another. This, then, is very far from bearing witness to history, personal or otherwise. Instead, it is autobiography as it is staged in the mind, with all the temporal slips and imaginative judders that that implies.
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