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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 Pop

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관리자 2009-08-27 17:00

작가MARILYN MINTER
Minter has, for the past 20 years, explored what she calls the “pathology of glamour,” or the painstaking everyday un- and re- doing of women’s physical appearance and their strive for perfection. Taking on the cliches of fashion photography she adds a dose of reality to them. Closing in tight on her subjects, whether it is a shoe, an eye or a baby, she subverts the glamour of desire. The images Minter generates always stand on the border of photorealism and abstraction: by focusing on details she continually shoots her photographs at the moment before the image breaks out of focus. Although the artist claims her images are not an explicit critique of the cult of glamour and fashion, one might see them reflective of Bataille’s interest in potlatch, a system by which wealth or energy is sacrificed or destroyed in order to gain power over one’s rival; in other words, Minter’s subjects become pathologically obsessed with glamour in the course of an implicit competition, squandering wealth in objects holding no utilitarian value with the intention of trumping their (unseen) rival’s beauty, wealth, etc. Conversely, works such as Stuffed (2003) probe the perils of gluttonous consumption, and the perilous proximity of accumulated wealth.
- MC, NB, MD
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