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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 Untitled

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관리자 2009-08-27 16:03

작가LYLE ASHTON HARRIS
Acutely aware of the danger of triteness and always in search of contradiction and paradox--the liminal thresholds of truth--photographer Lyle Ashton Harris utilizes the photographic media to push beyond the appearance of a thing. His oeuvre expresses a rich exploration of his and the subject’s identity, pointing toward an inner center holding the soul, beauty, profundity, and sensuality. Harris’ photographs are iconographic, using symbols to articulate complex matters. His work examines racial identity and gender identity, by subverting stereotypes and confronting the consequences of the historical narrative. Typically known for his Polaroid self-portraits, in which he assumes the identity of African-American icons such as Billie Holiday, or a boxer in his Memoirs of Hadrian series, Lyle Ashton Harris at times also turns the lens outwards. His work for the Biennial, Untitled (Cape Coast) features video footage superimposed over a large-scale image printed on panels of silk organza. The image depicts a beach on the Ghana coast that is home to one of a large slave trade fort. Once a grim “holding-tank”, the fort is today a major tourist destination. Projected onto this seemingly idyllic beach scene are views of the surrounding environment, traditional Ghanaian funeral festivals, and meditative trees blowing in the wind. The dreamlike, layered imagery creates a poetic image-scape filled with a nostalgic sense of longing and suggesting the complex relationship contemporary one has to history.
- MC, NB, MD
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