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 Delete Beach
Read 11,905
관리자 2018-08-21 10:52
Delete Beach, HD animation loop; colour, sound, Indoor beach, rubber crumb, tyres, refuse, liquid pools, lights, 21min, 2016, Courtesy of Shady Lane productions, Berlin
Phil COLLINS
Delete Beach
With the video installation Delete Beach (2016), Collins inhabits the form of anime, mobilizing that genre’s traditional association with dystopian science fiction, in order to conjure an immersive hypotheses concerning the end-game of our relationship with fossil fuels. The film’s subject is echoed in its gallery setting. Viewers watch the film within a room transformed into a landscape of shredded rubber interspersed by pools of dark oily liquid—materials that resonate, in dystopian ways, with capitalist leisure culture and the resource extraction industry that supports it. Here again, a critical intention can be discerned within Collins’ atmospheric and visually seductive work. Produced collaboratively with the esteemed anime studio STUDIO4°C and pop composer Mica Levi, the film has the aesthetic richness of a full scale production, even as its themes tap into the twisted nature of our ecological predicament. We watch anti-capitalist fighters adopt a perverse method of resistance, injecting and smoking the crude black substance, before committing a final act of mass self-sacrifice.