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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 IVETTE ZIGHELBOIM

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관리자 2009-08-27 17:33

작가IVETTE ZIGHELBOIM
Ivette Zighelboim paints isolated, totemic creatures against hazy, dark backgrounds which disrupt any concrete perception of space in favor of a more ambiguous and ethereal environment. Her animals are imbued with a touch of fantasy, rendered uncanny and abstract while being fully grounded in reality. In confronting Zighelboim’s paintings the question arises in the mind of the viewer as to whom is watching whom, and whether or not one is intruding upon a sacrosanct space. Some, like Dead Magic Bird (2007) and Elephant (2005), are akin to talismans and magic charms, and reveal a relation to Bataille’s notion of the principle of loss in cults requiring a sacrifice of animals and men. For the Biennial, Zighelboim turns to vultures and fireflies, creatures associated, respectively, with death and decay and light and transience; the expenditure of life. Painted in an expressionistic way, these creatures emerge from the void of the unknown, haunting the viewer with their presence and puzzling them with their strange beauty. Vultures, birds typically abhorred for their position as scavengers and devourers of dead flesh, are here redeemed by the artist as tragic figures whose destructive acts paradoxically assume a productive nature; alternately fireflies, insects with mythological connotations, are presented as harbringers of a revelatory, unnamed truth.
MC, NB, MD
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