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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(「레다와 백조」를 따라서)

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관리자 2009-08-27 16:05

작가JULIET JACOBSON
Juliet Jacobson creates elaborate, exuberantly erotic vignettes with a vital graphic dexterity. Interlacing porn imagery with cliched symbols of sex and death, such as full-blooming roses, hearts, human skulls and coiled snakes, Jacobson’s drawings re-examine contemporary Romantic symbolism to invoke an air of Fin de Siecle decadence. In her drawings, Juliet Jacobson examines and reconsiders the usage of myth and archetype from the context of a a 21st Century perspective. Her use of signage spans the more intrinsic understanding of “myth” as a classical, historical or urban fiction conveying some kind of explanatory collective concept, belief or institution, through to a more Structuralist reading examining the notion of myth as a system of fluid and reconfigurable signs and signifiers that construct our collective understanding of the world and our place in it.
Her work for the Biennial will expound upon her interest in the Western conception of identity and the self’s relation to the Other, a connection crucial to the actualization of a healthy society. Jacobson’s affinity for the doppelganger, the Other that is concurrently the self, reflects upon the antagonistic social relations of potlatch touched upon by Bataille in his essay on expenditure, however Jacobson inverts the destructive potentiality of this relationship into one based upon eros, caring and the birthing of the self.
- MC, NB, MD
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