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초록
In case of Korea called 'a heaven of biennales,' the researches into biennales have been very active owing to the increasing concern on the parts of universities and academic institutions. The themes of research have also encompassed a variety of arts genres. For example, the biennales have been discussed widely, ranging from the effects on the local identities to the tourism resources affecting the local economy, and further, from the urban regeneration through the design to the audience. However, the theme that has lately been discussed importantly is about their functions and roles. The reason why the biennales have been facing such an original question is that people require us to introspect their attributes and raison d'etre. This essay designed to answer such questions about biennales was aimed at their politico-social contexts. What do people do at biennales? This essay argues that the biennales are 'a laboratory for political solidarity and cultural hegemony.' Biennales' politico-social context may well be equated with their establishment and operations. Biennales started in late 19th century, but by the 20th century, they would spread world-wide owing to the European modernism. By the late 1980s, however, they would feature quite a different topology than before. For the collapse of the so-called Cold War system and the reorganization of the international order therefore would affect even the biennales in terms of their birth and operation. Some Asian nations emerged just in time, affecting the topology of biennales. While biennales are closely related with inter-national or intra-regional political solidarity, they feature the struggles among continents or nations or regions for the culural topology and hegemony. In short, the biennale politics has been more fierce and complicated. This essay divides the development of biennales into modernism and post-modernism, and thereby, discusses the purposes and causes of our new contemporary biennales. Any research into the politico-social functions of biennales would involve a discussion of their nature as well as a new alternative for the direction for their future. The latter part of this essay would discusses the roles and challenges facing a new biennale or Moscow Biennale open in 2005.