Ho Tzu Nyen Reflects on Biennial Experiences and Economic Realities for Artists

Ho Tzu Nyen, an artist and the current artistic director of the Gwangju Biennale, shares insights from his career, beginning with his early participation in the 2004 São Paulo Bienal. His work 'Utama—Every Name in History Is I' was featured in the Singapore pavilion at that event, marking a pivotal moment as he navigated the art world without formal training. During that period, he also presented components of his project at film festivals like Oberhausen and performing arts events such as Kunstenfestivaldesarts in Brussels, where he encountered diverse artistic communities that influenced his development. Nyen emphasizes that biennials are not stable economic opportunities for artists, noting that fees remain low despite rising costs globally. He critiques the notion of a 'biennial artist' as a myth, describing these events as temporary gatherings that foster connections but often lead to repetition. As the Gwangju Biennale prepares to open in September, he views biennials as provisional spaces for cultural exchange rather than fixed models, highlighting their role in creating brief intersections of ideas and practices.