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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  

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관리자 2009-08-27 16:58

작가VICTOR MAN
Victor Man makes paintings from found images (located, more often than not, on the internet), which he combines with drawings, texts and sculptural elements into spare, precisely choreographed installations than might be best described as micro-ecologies of ideas and form. This does not give rise to a narrative specificity, but rather through the conduit of a shared material, or a common emotional pitch, or even the whispered echo of a colour or shape. Meaning flames back and forth across their constituent parts, flaring and guttering, and always threatening to burn itself out. For all that Man’s work seems to evoke a (half-forgotten) history, it contains no archival impulse, and makes no attempt to draw a bead on a particular time and place. However, to encounter Man’s work is not to encounter a riddle in need of decoding, or a trick that, were we to peek behind the curtain, might reveal itself as such (we could go so far as to say that this is art that is all curtain, and our profitable engagement with it depends on our running our fingers along its weft). Rather, he asks that we accept that the process of recovering the past always take place in the here and now, and as such always produces something new and strange.
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