For Sonsbeek 2026 memory is not approached as static or nostalgic, but as an unfinished, dynamic force that constantly reshapes who we are and how we live together. Remembering and forgetting are considered not as opposites, but interdependent processes that are selective, contested, and charged with power. Today, Arnhem and Park Sonsbeek remain layered sites where personal and collective histories and ecological rhythms converge. Against the backdrop of ongoing global conflict, displacement, and ecological crisis, the urgency of asking who gets to remember, and how, has only intensified.
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The title of the 8th of the Singapore Biennale, Pure Intention, can come across as both sarcastic and deeply sincere. It reflects the role and function of art and large-scale exhibition-making in a time when the art world is experiencing biennale fatigue, while still seeming to overlook the interests of a wide-ranging general audience.
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TEA invites artists and collectives to apply to this call to develop and present projects whose research and methodology are focused on territory and community, whether through critical reflection, contextual intervention or collaboration with local agents.
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Screen Melancholy is the title of the Taiwan pavilion exhibition featuring the work of Li Yi-Fan curated by Raphael Fonseca. This title centers on a motif found frequently in art history – “melancholy” – as a response to the anxiety and gloom that arise with the flattening of perception when people face a world constrained and molded by today’s digital environment.
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Commissioned by ARKO (Arts Council Korea), the Korean Pavilion is pleased to announce its team and vision for the 61st International Art Exhibition of the Venice Biennale (2026). Curator Binna Choi, helming the project’s …
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