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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 무제

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관리자 2009-08-27 16:04

작가ROGER HIORNS
For his sculpture Untitled (2008), Roger Hiorns has introduced the brain of a slaughtered cow into a car engine, relocating it from an organic to a mechanical ‘skull’. The work suggests not a mystical union of animal and machine, nor a sci-fi cyborg fantasy, but rather the relationship between industrial processes and the erosion of subjectivity, and the problems and possibilities that this points to. Long-terms exposure to bovine brain matter has, reportedly, sharply diminished the mental faculties of some US abattoir workers, and in one sense Hiorn’s sculpture may be read an image of a consciousness that no longer compatible with the instrument of its expression. This, though, is an ambiguous state ? as the artist has written ‘the loss of the mind has recourse to intuition, the artist’s staple tool. The nearest to infant experience and first expression. The aspiration to the zero level of trauma’. Is Untitled, then, merely an evocation of the everyday violence of capital, or does it also suggest a counter-intuitive evolutionary leap? For Hiorns, Untitled and its pendant pieces ‘act out the impossibility of apprehending the facts of further advanced consciousness. [They] represent a brutalized stoppage’.
- TM

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