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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.


2018 Niemand ist mehr dort

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관리자 2018-08-21 11:55

작가Marcel Odenbach

Niemand ist mehr dort, Wo er anfing (Nobody is there anymore, where they started) Video, monitor, pedestal, glasses and text, Dimensions variable, 6min (loop), 1989 / 1990, ©Marcel Odenbach, Courtesy of Galerie Gisela Capitain, Cologne

Marcel ODENBACH
Niemand ist mehr dort

With his six minute video installation Niemand ist mehr dort, wo er anfing (Nobody is there anymore, where they started, 1989/1990), Odenbach tackled the imminent historic moment of the fall of the Berlin Wall. A cubic monitor is precariously placed on a set of upturned drinking glasses, in turn placed on a pedestal. On the wall, in red capital letters: NIEMAND IST MEHR DORT, WO ERANFING, NIEMAND DORT, WO ER HIN WOLLTE. (Nobody is there anymore, where they started, nobody there, where they wanted to be). The video starts with footage of a candlelight procession that took place in East Germany just before the Berlin Wall came down in November 1989. The march’s drama is underscored by a Bach fugue dissolving into the chant “Deutschland einig Vaterland” (“A single German homeland”). With interspersing scenes of Nazi soldiers marching in formation, Odenbach insists on factoring the violent past into an understanding of the drive for German reunification.

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