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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.


2010 Our contemporaries in BUSAN

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관리자 2011-04-11 22:47

작가Shin Moo‐Kyung
Shin Moo‐Kyung makes use of simple mechanisms such as motors and sensors to produce repetitive movements of daily objects in order to translate certain aspects of civilizations and social phenomena in humorous ways. In his previous solo show Shin delivered the reiterating everyday life of the moderns who were becoming deindividuated through an interactive installation work in which metallic fingers made sharp noises as they are hit against a metal plate. The uniform movements of those fingers made of metal acutely embody the anxieties and tiresome daily life of the moderns, individual beings buried in the din and bustle, and the crises and effeminacies of anonymous self‐consciousnesses. The work of his shown at this biennale is an up‐graded version of his finger work, one of his major works. Desks are installed to surround the viewers, and fingers are programmed to tap in an irregular way on those desks in accordance with the movements of light. The desks are placed to form a bird’s eye view in the way to remind one of a uniform educational system and many other social relationships between institution and an individual, and they pose questions about the existences, dreams and ideals of individuals in the modern society of today that is constantly iterated and deindividuated.
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