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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 1. Blood, Sea 2. Botanica 1-26

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관리자 2011-04-11 22:51

작가Janaina TSCHAPE
Janaina Tschape's videos, installations, photographs and drawings share an appeal that ties together a European-style rationalism with an exotic mysticism that is incompatible with rationalism.
The cosmos, the changes that occur in the natural world, the evolution of organisms, sex and mythical elements are apparent in her work. Seeing her work, one cannot help but be reminded that we are a "living being."
100 Little Deaths (1997-2002) is an expression from her early days where she used her body and a series of work in which her current art practice is rooted.
Blood, Sea (2004) was an extension of 100 Little Deaths. We see her projected onto four screens, underwater and wearing objects that expand like balloons and a seaweed-like sash.
She who in the sea has been transformed into a new variety of living creature merely floats there, surrendering her body to the flow of the water. The liquid that circulates through the body is blood. Tschape's own skin and her costume under the water give the impression of merely being thin membranes that separate her blood and the water in the sea. We associate her with the reproductive act endlessly repeated by mankind no matter how high the level of our culture, and it is erotic.
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