The 111 invited participants of this exhibition – among them, individual artists, collaborative duos, collectives, and artist-led organisations – hail from many geographies and regions selected by Koyo with particular attention to resonances, affinity, and and possible convergences between practices, even when far apart.
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The art world is mourning the sudden and profound loss of Henrike Naumann, the visionary German installation artist who passed away on February 14, 2026, at the age of 41. Her death, which followed a tragically late cancer diagnosis, comes at a moment when she was poised to reach the zenith of her career: representing Germany at the 61st Venice Biennale.
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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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