ⓒ Bruno Réquillart, Fragments, Dongnae Eupseong Town Hall, Pigment Print, 48X130cm, 2017
For its 10th anniversary, GoEun Museum of Photography presents Busan seen through the eyes of French photographer Bruno Réquillart in its annual project Busan Observation 2018
. In 2016 Réquillart's work was introduced in Asia for the first time through Bruno Réquillart. Poétique des forms
, an exchange exhibition organized by Jeu de Paume in Paris and GoEun Museum of Photography as part of the official ceremony celebrating 130 years of Korea-Franace diplomatic relations. He set foot in Busan for the first time for the exhibition and he was instantly mesmerized by this brilliant city, which resulted in his participation of Busan Observation
project. Busan Observation
is a decade long project, assigning an experienced and talented photographer every year to document the history and local colors of Busan in his or her own unique views. The outcome is exhibited at the Museum once completed. Previous participants include HongGoo Kang (2013), KwangHo Choi (2014), GapChul Lee (2015), YongSuk Kang (2016), ChuHa Chung (2017), and as the project’s sixth artist Bruno Réquillart visited Busan in January and October of 2017 to capture various parts of the city in his unique views.
Bruno Réquillart photographs his surroundings as if causally writing a poem. He himself describes the work as 'a play' and to him photography is about newly exposing the surroundings he has already grown used to. That is why he confesses this project was challenging yet interesting at the same time, to explore Busan, a city in Korea and Asia where he has never been in before. After taking the photographs he goes through a lengthy process of development which was why the limited time frame he was given concerned the photographer. Not knowing how to interpret this foreign city and culture, he decided to accept the atmosphere and feelings that had captured him upon his arrival, just as they are. To Bruno Réquillart the act of taking photographs means to situate himself inside that space and be tamed by it. Stimulating contemplation and reflection on Busan through his senses is the essence of this year's Busan Observation.
From a spectator's point of view, it is not an easy task to understand his work. Despite the existence of a definite photographic object, its unique multi-dimensions composed of lines, forms and panoramic frames make his work more abstract and ambiguous. Moreover he arranges the object in his own fashion to create an utterly different context for the images. He forms new contexts by alternating heterogeneous objects and in that sense his work is compositional, multi-dimensional and comprehensive. Bruno Réquillart’s photographic composition is a method to lay out the emotions the artist feels as he chooses and captures the object, in ways to most properly expose those feelings. It is to decipher the inner vision through contemplation and not seeing it as an object of reason. Each of the fragmented images combined with different elements functions as an individual element within the overall frame. Busan captured by Bruno Réquillart is a comprehensive structure of double layers that are composed of different fragments. To him panoramic frames are not an instrument to capture something more, but a method to decide what to choose and what to eliminate. Those different forms, lines and colors are put together through the process of selection and elimination, creating an inside relationship of their own. His photographs are powerful, perhaps because he has this magnificent relationship with the world. It’s only natural the exhibition is titled as 'Fragments of Reality'.
The exhibition is presented in two venues: GoEun Museum of Photography and ART SPACE - Alliance Française de Busan. The exhibition is built on several keywords the artist discovered in Busan. They are street floors, natural landscapes, urban streets and houses, temples, people and ocean, which are different elements of Busan that resonate in similar forms or colors. Elements that seemingly share no similarity are combined and connected within an image or amongst different photographs exhibited in the gallery. As such elements communicate, an image capturing the instant wins eternity. Thus individual senses and significances he has captured advance into the realm of generality. This is where his work becomes more interesting. Exhibition space is arranged in a way to display Busan in its miniature form, by coloring the walls in yellow, blue and red. The space is divided just as Busan is divided by elements of nature like the mountains and ocean. Photographs in black and white or color that cross paths within that space each have a different vision. While monochrome photos reveal accuracy of the meaning Bruno Réquillart intends to capture through forms and structures, color images suggest diversity of meaning through the sensitivity of colors and ensemble of forms. In particular, exhibit in ART SPACE - Alliance Française de Busan, will present his views in a more expanded form, delivering a cheerful piece of poetry. The moment he chooses an object he intuitively understands what values should be given to the details and colors within his frame. Exploration of the new and accurate is also a way for him to see the world with his own eyes and recreate them through forms. Observation has the power to dismantle the existing and recreate it anew. Thus to him Busan Observation
is an encounter with Busan in its new form and an act to connect with Busan in his own way. How does Busan captured by him connect with us in 2017, at this moment and at this place? His eyes uncover beauty from something so trivial that most would fail to notice. They lead us away from the stereotype of familiar objects and let us immerse in the obscure and peculiar feelings. His work presents Busan in several layers and the sensations in between, questioning how we view Busan or in what ways can Busan be viewed. Isn't this the point where we can find expect to free the image from reality?
To Bruno Réquillart Busan isn't just a subject for work. It is a city of dreams where different forms and meanings coexist. By selecting a specific subject and transforming the reality in front of our eyes, Busan Observation 2018 Bruno Réquillart
, Fragments of Reality
discovers those different and poetic elements as well as their beauty. Through it we will discover Busan in a new form that we have not seen until now, just as Bruno Réquillart had discovered.
GoEun Musuem of Photography
All rights is reserved.
** Solo Exhibitions
||Born in Marcq-en-Baroeul, France
||Begins his photographic career
||Stops photography to concentrate on painting
||Returns to photography using panoramic camera
|Currently resides mainly in Paris and Pavia, Portugal
|2016|| ||Bruno Réquillart. Poétique des formes, Jeu de Paume touring exhibition, GoEun Museum of Photography,|
| ||Busan, Korea **|
|2014|| ||Bruno Réquillart. Poétique des formes, Jeu de Paume touring exhibition, Les Essar(t)s, Bram, France **|
|2013|| ||Bruno Réquillart. Poétique des formes, Jeu de Paume touring exhibition, Château de Tours, Tours, France **|
|2007|| ||Bruno Réquillart, Paris on the Seine, Silver Eye Center for Photography, Pittsburgh, USA**|
|2006|| ||La Seine des photographes, La Conciergerie, Paris, France|
|2004|| ||Pavia-Paris, Calouste Gulbenkian Cultural Center, Paris, France **|
|1994|| ||Bruno Réquillart. Versailles, Mission du patrimoine photographique, Hôtel de Sully, Paris, France **|
|1986|| ||Bruno Réquillart 1972-1979, Palais de Tokyo, Centre national de la photographie, Paris, France **|
|1985-1986|| ||Sidérations, l’atelier photographique français, Centre de création contemporaine,|
| ||Tours; musée d’Art moderne, Liège, France; Centre culturel Français, Rome, Italie|
|1982|| ||Versailles: Two Visions, Deborah Turbeville and Bruno Réquillart, Hayden Corridor Gallery,|
| ||MIT Cambridge University, USA|
|1981|| ||Des photographes dans le paysage, Galerie de France, Paris, France |
|1979|| ||Photographs of Versailles, Zabriskie Gallery, New York, USA**|
|1978|| ||Bruno, Musée national d’Art moderne, Centre Georges-Pompidou, Paris, France ** |
| ||Bruno Réquillart, galerie Zabriskie, Paris, France **|
|1977|| ||Bruno, Fiolet Gallery, Amsterdam, Holland **|
|1976-1980|| ||Trois jeunes photographes : Bruno, Kalvar, Plossu, Musée national d’Art moderne|
| ||Centre Georges-Pompidou, Paris, France ; Galería Spectrum, Saragosa, Spain;|
| ||Colegio Mayor Juan de la Cosa, Santander, Spain; Club de la presse internationale |
| ||et du livre, Palais de la Culture, Warsaw, Poland; Galerie de la Ville, Prague, Czech Republic|
|1976|| ||Bruno and Linda Benedict-Jones, The Photographic Gallery, Southampton, England **|
| ||Bruno, Galería Spectrum, Barcelona, Spain|
| ||Bruno, 13/ 15 Gallery, Saint-Louis, USA **|
|1975|| ||Bruno, Bernard Plossu, Bernard Descamps et Eddie Kuligowski, Bibliothèque nationale, Paris, France|
| ||Thomas Sennett, Bruno et Branko Lenart, Galerie Il Diaframma, Milano, Italy |
|1973|| ||Séquences et conséquences, ARC – Musée d’Art moderne de la Ville de Paris, France|