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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 Crowd

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관리자 2018-08-21 10:56

작가Eva Grubinger

Eva GRUBINGER, Crowd, Tensa barriers, Dimensions variable, 2007/2018, Courtesy of Galerie Tobias Naehring, Leipzig

Eva GRUBINGER
Crowd

Grubinger’s work for the Busan Biennale elaborates a theme she began working with in the early 2000s—a meditation on technologically and bureaucratically produced power structures, through a charged style of sculpture, reminiscent of post-minimalism. In her 2003 exhibition ‘Dark Matter,’ familiar technological objects—headphones, a smokestack, a cooling tower—were articulated as enormous, brooding, black sculptures. In Busan, Grubinger shows a work that is no less ominous. Crowd (2008/2018) comprises many black steel and nylon barriers of the kind familiar from airport check-ins, in a purposefully unnecessary long, overlapping pattern. As viewers tediously wind their way through this mechanism of crowd control, the aesthetic experience of art is re-cast as one that is structured by the economical and political logistics of moving bodies through territorial divisions.

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