KAREN PAULINA BISWELL
Karen Paulina Biswell is respresented by wildpalms.
French-Colombian artist based in Paris and Bogotá. Her work is show worldwide in institutions and museums.
Find a selection of Karen’s series Carayuru @ wildpalms STORE!
Karen talk at Oblicuo, organized by the faculty arts Universidad de los andes. Now in youtube.
New publication in Dream Big Newspaper!
Born in 1983 Curaçao to Colombian Parents who had to emigrate to France.
Lives and works between Paris and Colombia.
Awards / Grants
2019 Prix Pictet / Nominee
2018 Residencies Program of the Musée du Quai Branly- Jacques Chirac / Laureate
2017 World Press -The 6×6 Global Talent Program / Nominee
2016 Gd4Photoart Award by MAST Foundation / Nominee
2016 Higashikawa Award (Japan) / Nominee
2016 Prix de la Photo Madame Figaro Arles (France) / Nominee
2014 World Press Photo-Joop Swart Masterclass / Nominee
2013 IX Premio Colombo-Suizo de fotografía (Colombia) / Second Prize
2012 La Lettre de Photographie – Bourse du Talent: Portrait (France) / Nominee
2019 A4 Art Museum, Chengdu,CHINA
2018 Photographic Residency, Musee Du Quai Branly, Paris, FR
2017 Les Rencontres Photographique de Guyane, French Guiana
2016 Ses Dotze Naus, Ibiza, ESP
2015 Verzasca Foto, Switzerland
Solo Exhibitions (selected)
2020 Chère Pipi, Musee Du Quai Branly, Paris, FR
2019 Shēnti / Body, A4 Art Museum, Chengdu, China
2019 Las tres marias, SÂLMON< – FESTIVAL, Barcelone, ESP
2018 Ellas, Valenzuela Klenner Gallery, Bogota, COL
2017 La Dernière Lune, Les Rencontres Photographique de Guyane, French Guiana
2016 Nama Bu, le Forum Montesquieu, Bordeaux, France
2015 Nama Bu, le Rocher de Palmer, Bordeaux, France
2015 Nama Bu, Valenzuela Klenner Gallery, Bogota, Colombia
2013 Hotel Dorantes, FIDAAC, Bordeaux, France
2012 Radio Macondo, LA OTRA, Independent Contemporary Art Fair, Cartagena, COL
2010 A tres Bandas, Valenzuela Klenner Gallery, Bogota, COL
Group Exhibitions (selected)
2020 Té de Bogotá, wildpalms, Düsseldorf, DE
2019 Art and social unrest in the Jorge M. Perez Collection, Espacio 23, Miami
2019 Ven y cuéntame la verdá, Valenzuela Klenner Gallery, Bogota, COL
2019 Libertad, MOMENTA – Biennale de l’Image, Montreal, CAN
2019 LUJURIA, Casa Hoffman, Bogota, COL
2018 Hybridtopographies, 60 Wall Gallery, Deutsche Bank, New York, USA
2018 MEMENTO.CAB, Fondation Vasarély, Aix-en-Provance, FR
2017 ATTACHES, Cité Internation des Arts, Paris, FR
2017 Deseo, MAMM, Museum of Modern Art of Medellin, COL
2017 La Vuelta, J1,Marseille, FR
2017 La Vuelta, Les Rencontres de la photographie, Arles, FR
2016 Nama BU, Foto Feminas, Just Another Photo Festival, Varanasi, India.
2016 Nama BU, Foto Feminas, Pingyao International Photography Festival, CHINA
2016 Swinging Bamako, Les Rencontres de la photographie, Arles, FR
2015 Epiphany, Verzasca FOTO Festival. Sognono, Valle Verzasca,CH.
2014 Angkor Photo Festival, Siem Reap, Cambodia 2014 – FIDAAC, Vilna, LIT
2014 POV Female Bogota, at Valenzuela Klenner Gallery, Bogota, COL
2014 Taxonomie of Desire, Vasli Souza, Malmö, SWE
2013 Taxonomie of Desire, Espacio Rita, Nagoya, JAP
Public & Institutional Collections
Jorge M. Perez Collection – Espacio 23, Miami, USA
Musée du Quai Branly – Jacques Chirac, FR
Museo del Banco de la Republica, COL
Les Rencontres d’Arles, FR
2021 Oblicuo. Talk. Organized by Arts Faculty. Universidad de los Andes
2020 10 colombian artists who are shaping contemporary art. Artsy online
2020 Cover & feature in Hot Hot Hot! Magazine, Paris, FR
2020 Encuentro Editorial de ArtBo fin de Semana, Bacanika, COL
2020 Karen Paulina Biswell, Waves Derie Chère Pipi, Madame Figero, FR
2019 ‘Ellas II, quand les femmes mettent en scène leur propre vision du désir’, GRAZIA, FR
2017 ‘Arles 2017 – One to Watch Karen Paulina Biswell’, British Journal of Photography, UK
2016 ‘Karen Paulina Biswell’, Feature & Interview, Foto Feminas
2016 Epiphany, publish by Verzasca FOTO Festival, Suisse
2014 Embera-Chamis – ¡Chao Nos Vemos!, POV Female, publish by oodee, UK
2019 Art and social unrest in the Jorge M. Perez Collection, cuarted by Jose Roca, Espacio 23, Miami
2019 The Life of Things, publish by Kerber, Momenta Biennale de L’Image, FR
2017 Attaches, publish by IESA arts&culture, Paris, FR
2017 La Vuelta, publish by Seguros Bolivar, Bogota, COL
2017 La Vuelta, publish by Actes Sud, Les Rencontres d’Arles, FR
2016 Swinging Bamako, publish by Actes Sud, Les Rencontres d’Arles, FR
selection of works
for more works and information contact:
Series Chère Pipi (Dear Pipi)
Series Nama Bu (We Exist)
The series Carayuru was shot using the discontinued FUJI INSTANT COLOR FILM FP-100C and Polaroid camera (turning them into collector`s items). The film produces photos of outstanding quality and was used for commercial purposes, including product photography.
Karen uses a mechanical camera and analog film, because it allows her to work in remotes areas, where electricity is scarcely, Therefore, she is not dependable of charging the battery or carrying a large set of chargers. Furthermore, humid climates have great impact on digital components, but for the mechanical ones, they enhance the photography producing fascinating light distortions.
Nonetheless, the use of the instant film goes beyond the technical limitations imposed by the Amazonas. The immediacy of the photography allowed Karen to interact with a complex environment. Not only for its ecological richness, but also the social one, by adapting herself to the shamanic practices and preparing her for the rituals. Using a different medium, will demand more attention, breaking the balance between her as observer and actor in a magic world.
We hope that you enjoy this beautiful series of one the most recognized contemporary colombian artists. (link artsy)
Want to learn more about polaroid and artists. We recommend to read The Polaroid Project At the Intersection of Art and Technology . Editors: William A. Ewing & Barbara P. Hitchcock.
“According to the mythology of the Yuruparí anaconda, when the blood from the burning animal reddened all the clouds, a drop fell on the skin of the anaconda’s daughter and created the first menstruation period. From this cycle born the Carayuru plant, a source of life for women and protection for everyone.
The jungle is surprising for its plants diversity and even more by the infinite number of vernacular uses. Food, medicine, kitchen tools, hunting, housing, and fishing uses, musical instruments, ceremonial objects and other uses that are beyond our western understanding. What you get from the jungle is the life that revolves around plants.
Rather this plants poetry could be consider the technology. Uses as construction and others more sophisticated, reveal the relationship that exists between the inhabitants of these places, the territory and the time. This interplay, this millennial time period of the plant fermentation, is a transformation of knowledge in the subtraction of alkaloids and pigments from the plant. Today I use the Carayuru to protect myself, but above all to communicate with the jungle, in a dimension where the care of the community is part of its technopoetry.”
exhibition views (selection)
Photo credit: Jean-Michael Seminaro © MOMENTA | Biennale de l’image and Dazibao.