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Busan Biennale 2024

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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.

Hélène Amouzou

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BB2024 2024-11-29 10:29

Hélène Amouzou

Autoportrait, Molenbeek (#93), 2008/2024, analogue photography, inkjet print on barite paper, 75x50cm.

Autoportrait, Molenbeek (#14), 2008/2024, analogue photography, inkjet print on barite paper, 75x50cm.

Autoportrait, Molenbeek (#55), 2008/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#26), 2009/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#92), 2009/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#30), 2009/2024, analogue photography, inkjet print on barite paper, 75x50cm.

Autoportrait, Molenbeek (#61), 2009/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#62), 2009/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#95), 2009/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#94), 2010/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#37), 2010/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#96), 2011/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#97), 2011/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Molenbeek (#98), 2011/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Togo (#1), 2011/2024, digital photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Sophie’s House (#1), 2017/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Liège (#4), 2019/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Liège (#14), 2019/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Autoportrait, Liège (#29), 2019/2024, analogue photography, inkjet print on barite paper, 50x50cm.

Entre temps (#13), 2021/2024, analogue photography, inkjet print on barite paper, 50x50cm.

 
Although Hélène Amouzou uses the genre of the self-portrait, it was initially discomforting for the artist. She has since made it her practice though, as it allows her to actually find a place, to register in her environment as a constant in-between - as a migrant. Her series Autoportrait (2008-2019/2024), and Entre temps (2021/2024) were born in the darkroom. All the strangeness we can perceive in the images, are a play with chance and exposure, materially grasping a visual transience, something allowed by analogue film, even if some photographs have aspects of collage. Playing with the photographic medium to create ephemeral and ghostly images, her social and political invisibility becomes a haunting presence through different interiors, revealing the artist and her body. The spectral appearance becomes at the same time a metaphor for the photographic medium, and of a self, slipped into its character negotiating a determined or projected role. Hélène Amouzou’s series speak at the same time to a tradition of portraiture, often in the studio, with protagonists entering into roles in an almost performative manner – their own construction of identity. A certain deconstruction of such performative self-fashioning is suggested through the undecorated interiors and symbolic objects Amouzou uses: the suitcase and other possessions that have accompanied her during exile, but also progressively jewellery, fabrics, family souvenirs she brings back from her trips to Togo, testifying of a modified relationship she has with her country and her culture of origin.
 
 
 
 
 
Hélène Amouzou
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