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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.


부산비엔날레 [Talk Program] Session3_Ayoung KIMxJi-hoon KIM

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관리자 2020-10-21 12:21

[주제 Topic]
이종적 시공간성이 스며드는 포탈, 부산
Xenotopia

[패널 Talk Panel]
김아영 : 2020부산비엔날레 시각예술가
Ayoung KIM : 2020BB Visual Artist
김지훈 :중앙대학교 공연영상창작학부 교수
Ji-hoon KIM : Professor of Film at Chung-Ang University


본 세션은 김아영 작가의 [돌아와요 부산항에 (Please Return to Busan Port)](2012), [모든 북극성 1, 2 (Every North Star I & II)] (2010), 그리고 신작 [수리솔 수중 연구소에서 (At the Surisol Underwater Lab)] (2020)의 주요 방법론을 통해 항구 도시, 혹은 부산의 근미래를 상상하고자 한다. 판데믹 이후 과거 회상의 시점에 기대어 그려내는 풍경은 아시아 해상도시의 하나인 부산을 픽션의 배경으로 도시의 근대화, 밀수, 지역성, 항구를 통한 문화와 이념의 유입 등을 다루며, 이는 지금의 현실보다는 조금 더 어두운 미래상일 수도 있다. 김지훈 비평가는 김아영 작가의 해당 작업 및 주요 작업에 영상/영화적 비평적 관점을 덧대어 그로부터 미끄러지고 확장되어 나아가는 오늘날의 가능한 이슈들을 다루어 보고자 한다


This session imagines a port city of the future or specifically Busan in the near future through the methodology of Ayoung Kim as embodied in her Please Return to Busan Port (2012), Every North Star I & II (2010), and her latest project, At the Surisol Underwater Lab (2020). The session paints a fictional landscape set in a maritime city of Asia with the hindsight of the post-pandemic era, examining issues such as urban modernization, smuggling, regionality, and cultural and ideological exchanges. The future landscape that emerges through this process may be somewhat bleaker than the present. Critic Jihoon Kim discusses these works by Ayoung Kim from the film and media studies perspective to explore key questions they open up, which are of relevance for today’s society.
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