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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 GROUP 1.3

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관리자 2009-08-27 16:58

작가MARLENE MCCARTY
McCarty came to prominence in the early 1990s through her explorations of sexuality and obscenity via textual renderings on canvas. By the middle of that decade the artist began creating figurative works based on narratives of transgressive true-life incidents. These works, rendered tightly and compulsively in ballpoint pen and graphite, continue to grow in scale and complexity, from individual portraits of female murders in the mid 1990s to the now mural-sized works involving groups of figures seen in the current exhibition. The monumental scale of the recent works creates an immersive setting where the family - both immediate (human) and extended (hominid) - takes center stage. These seemingly innocuous scenes are contrasted by the tragic true-life stories on which the works are based. Marlene McCarty’s work in the Biennial centers around the story of a young daughter whose teenage sexual rebellion results in the death of her religious parents. The series of three drawings depict the baptism of Kara in the family’s hot tub, reflecting the themes of latent eroticism and loss of innocence. The nature of these three drawings as a prelude, of sorts, to the action presented in the text, burdens the viewer with finding in the images a rational and acceptable causality. The drawings are made out of thousands of adolescent style ball point pen and pencil marks, a method which embodies the excessive labor of expenditure.
- MC, NB, MD
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