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Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

Joshua Woolford’s (@jshwlfrd) transdisciplinary practice, ranging from tattooing to choreography, is shaped by their position within the queer Black Afro-Caribbean diaspora in Britain, but resists stable categories. “Instead, identity in the work is negotiated and continuously reconfigured throughcontact with institutions, landscapes, and other bodies,” writes Amal Khalaf (@amalandaplan).

Link in bio to read more.

[🎬스팟영상 공개]
2026부산비엔날레 D-100을 기념하여 스팟영상을 공개합니다.

이번 영상은 2026부산비엔날레 참여작가 타낫 티라다콘(@pgm_991 )과의 협업으로 제작되었으며, 전시 주제 《불협하는 합창》을 저항과 시위 그리고 축제의 에너지가 뒤섞인 강렬한 푸티지로 풀어냈습니다.

사운드와 불규칙한 그래픽, 긴박한 화면 전환이 만들어내는 역동적인 리듬감을 느껴보세요.🎼

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
📌 전시장소: 부산현대미술관, 스페이스 원지, (구)부산남고등학교

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[🎬Promotion Video Released]
To celebrate D-100 until Busan Biennale 2026, we are pleased to unveil our official promotional video.

Created in collaboration with participating artist Tanat Teeradakorn, the video visually interprets the theme Dissident Chorus through intense footage charged with the energies of protest, resistance, and festival.

Experience the dynamic rhythm created through sound, fragmented graphics, and rapid screen transitions. 🎼

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)
📌 Venue: Busan Museum of Contemporary Art, Space OneZ, Former Busan Nam High School

[전시장소 #3]
🎼 3악장: (구)부산남고등학교
세번째 전시장소는 영도 남단에서 태평양을 내려다보고 있는 (구)부산남고등학교입니다. 학교의 이전으로 지금은 침묵 속에 잠겨 있지만, 그 복도에는 70년의 목소리가 여전히 맴돌고 있습니다. 이 공간은 침묵을 부재가 아니라 비옥한 멈춤으로, 아직 들리지 않는 목소리들이 모여드는 장소, 그리고 또 다른 공존의 방식을 연습하는 자리가 될 것 입니다. 《불협하는 합창》은 이 곳에서 우리가 어떻게, 누구에게서 배우는지를 묻는 설치 작업들을 전시합니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)

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[Exhibition Venue #3]
🎼 3. Former Busan Nam High School
The third exhibition venue is the Former Busan Nam High School, overlooking the Pacific from Yeongdo Island's southern tip. Though now silence, but seventy years of voices linger in its hallways. This venue treats silence not as absence but as a fertile pause—a gathering place for voices yet unheard and a rehearsal for other ways of being together. For Dissident Chorus, this site hosts installations that question how and from whom we learn.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #3]
🎼 3악장: (구)부산남고등학교
세번째 전시장소는 영도 남단에서 태평양을 내려다보고 있는 (구)부산남고등학교입니다. 학교의 이전으로 지금은 침묵 속에 잠겨 있지만, 그 복도에는 70년의 목소리가 여전히 맴돌고 있습니다. 이 공간은 침묵을 부재가 아니라 비옥한 멈춤으로, 아직 들리지 않는 목소리들이 모여드는 장소, 그리고 또 다른 공존의 방식을 연습하는 자리가 될 것 입니다. 《불협하는 합창》은 이 곳에서 우리가 어떻게, 누구에게서 배우는지를 묻는 설치 작업들을 전시합니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)

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[Exhibition Venue #3]
🎼 3. Former Busan Nam High School
The third exhibition venue is the Former Busan Nam High School, overlooking the Pacific from Yeongdo Island's southern tip. Though now silence, but seventy years of voices linger in its hallways. This venue treats silence not as absence but as a fertile pause—a gathering place for voices yet unheard and a rehearsal for other ways of being together. For Dissident Chorus, this site hosts installations that question how and from whom we learn.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #3]
🎼 3악장: (구)부산남고등학교
세번째 전시장소는 영도 남단에서 태평양을 내려다보고 있는 (구)부산남고등학교입니다. 학교의 이전으로 지금은 침묵 속에 잠겨 있지만, 그 복도에는 70년의 목소리가 여전히 맴돌고 있습니다. 이 공간은 침묵을 부재가 아니라 비옥한 멈춤으로, 아직 들리지 않는 목소리들이 모여드는 장소, 그리고 또 다른 공존의 방식을 연습하는 자리가 될 것 입니다. 《불협하는 합창》은 이 곳에서 우리가 어떻게, 누구에게서 배우는지를 묻는 설치 작업들을 전시합니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)

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[Exhibition Venue #3]
🎼 3. Former Busan Nam High School
The third exhibition venue is the Former Busan Nam High School, overlooking the Pacific from Yeongdo Island's southern tip. Though now silence, but seventy years of voices linger in its hallways. This venue treats silence not as absence but as a fertile pause—a gathering place for voices yet unheard and a rehearsal for other ways of being together. For Dissident Chorus, this site hosts installations that question how and from whom we learn.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #3]
🎼 3악장: (구)부산남고등학교
세번째 전시장소는 영도 남단에서 태평양을 내려다보고 있는 (구)부산남고등학교입니다. 학교의 이전으로 지금은 침묵 속에 잠겨 있지만, 그 복도에는 70년의 목소리가 여전히 맴돌고 있습니다. 이 공간은 침묵을 부재가 아니라 비옥한 멈춤으로, 아직 들리지 않는 목소리들이 모여드는 장소, 그리고 또 다른 공존의 방식을 연습하는 자리가 될 것 입니다. 《불협하는 합창》은 이 곳에서 우리가 어떻게, 누구에게서 배우는지를 묻는 설치 작업들을 전시합니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)

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[Exhibition Venue #3]
🎼 3. Former Busan Nam High School
The third exhibition venue is the Former Busan Nam High School, overlooking the Pacific from Yeongdo Island's southern tip. Though now silence, but seventy years of voices linger in its hallways. This venue treats silence not as absence but as a fertile pause—a gathering place for voices yet unheard and a rehearsal for other ways of being together. For Dissident Chorus, this site hosts installations that question how and from whom we learn.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #2]
🎼 2악장: 스페이스 원지
부산 영도 봉래동에서 선박 장비를 임대하던 100년 된 공간 스페이스 원지는 오늘날까지도 부산 원도심 항만의 역사를 간직하고 있습니다. 《불협하는 합창》에서 이 공간은낮은 주파수에 귀 기울이며 바다와 원초적 요소들에 말을 건네는 예술적 실천에 집중하며, 인간과 비인간 존재의 생존과 저항의 투쟁을 연결하는 장소가 됩니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
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[Exhibition Venue #2]
🎼 2. Space OneZ
Space OneZ, a century-old marine warehouse in Bongnae-dong, Yeongdo Island, Busan originally used to lease ship equipment, still captures the port history of Busan’s historic downtown area. For Dissident Chorus, the venue is dedicated to artistic practices that speak to the oceanic and the elemental by tuning into the lower frequencies of hidden aquatic life, thereby connecting human with non-human struggles of survival and resistance.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #2]
🎼 2악장: 스페이스 원지
부산 영도 봉래동에서 선박 장비를 임대하던 100년 된 공간 스페이스 원지는 오늘날까지도 부산 원도심 항만의 역사를 간직하고 있습니다. 《불협하는 합창》에서 이 공간은낮은 주파수에 귀 기울이며 바다와 원초적 요소들에 말을 건네는 예술적 실천에 집중하며, 인간과 비인간 존재의 생존과 저항의 투쟁을 연결하는 장소가 됩니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
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[Exhibition Venue #2]
🎼 2. Space OneZ
Space OneZ, a century-old marine warehouse in Bongnae-dong, Yeongdo Island, Busan originally used to lease ship equipment, still captures the port history of Busan’s historic downtown area. For Dissident Chorus, the venue is dedicated to artistic practices that speak to the oceanic and the elemental by tuning into the lower frequencies of hidden aquatic life, thereby connecting human with non-human struggles of survival and resistance.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #2]
🎼 2악장: 스페이스 원지
부산 영도 봉래동에서 선박 장비를 임대하던 100년 된 공간 스페이스 원지는 오늘날까지도 부산 원도심 항만의 역사를 간직하고 있습니다. 《불협하는 합창》에서 이 공간은낮은 주파수에 귀 기울이며 바다와 원초적 요소들에 말을 건네는 예술적 실천에 집중하며, 인간과 비인간 존재의 생존과 저항의 투쟁을 연결하는 장소가 됩니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
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[Exhibition Venue #2]
🎼 2. Space OneZ
Space OneZ, a century-old marine warehouse in Bongnae-dong, Yeongdo Island, Busan originally used to lease ship equipment, still captures the port history of Busan’s historic downtown area. For Dissident Chorus, the venue is dedicated to artistic practices that speak to the oceanic and the elemental by tuning into the lower frequencies of hidden aquatic life, thereby connecting human with non-human struggles of survival and resistance.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[전시장소 #2]
🎼 2악장: 스페이스 원지
부산 영도 봉래동에서 선박 장비를 임대하던 100년 된 공간 스페이스 원지는 오늘날까지도 부산 원도심 항만의 역사를 간직하고 있습니다. 《불협하는 합창》에서 이 공간은낮은 주파수에 귀 기울이며 바다와 원초적 요소들에 말을 건네는 예술적 실천에 집중하며, 인간과 비인간 존재의 생존과 저항의 투쟁을 연결하는 장소가 됩니다.

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
.
.
[Exhibition Venue #2]
🎼 2. Space OneZ
Space OneZ, a century-old marine warehouse in Bongnae-dong, Yeongdo Island, Busan originally used to lease ship equipment, still captures the port history of Busan’s historic downtown area. For Dissident Chorus, the venue is dedicated to artistic practices that speak to the oceanic and the elemental by tuning into the lower frequencies of hidden aquatic life, thereby connecting human with non-human struggles of survival and resistance.

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

Ahead of the 61st Biennale opening, discover curator and co-artistic director of @busanbiennale Amal Khalaf’s (@amalandaplan) most anticipated moments in Venice.

In the lead-up to this year’s edition, we invited friends and recent collaborators to highlight the exhibitions, places, and moments they are most looking forward to, offering a way to navigate the laguna through their eyes.

Tap the link in bio to read “How Does It Feel?,” the Tidbit Khalaf contributed on transdisciplinary artist Joshua Woolford (@jshwlfrd) in the latest issue of Mousse.

Ahead of the 61st Biennale opening, discover curator and co-artistic director of @busanbiennale Amal Khalaf’s (@amalandaplan) most anticipated moments in Venice.

In the lead-up to this year’s edition, we invited friends and recent collaborators to highlight the exhibitions, places, and moments they are most looking forward to, offering a way to navigate the laguna through their eyes.

Tap the link in bio to read “How Does It Feel?,” the Tidbit Khalaf contributed on transdisciplinary artist Joshua Woolford (@jshwlfrd) in the latest issue of Mousse.

Ahead of the 61st Biennale opening, discover curator and co-artistic director of @busanbiennale Amal Khalaf’s (@amalandaplan) most anticipated moments in Venice.

In the lead-up to this year’s edition, we invited friends and recent collaborators to highlight the exhibitions, places, and moments they are most looking forward to, offering a way to navigate the laguna through their eyes.

Tap the link in bio to read “How Does It Feel?,” the Tidbit Khalaf contributed on transdisciplinary artist Joshua Woolford (@jshwlfrd) in the latest issue of Mousse.

Ahead of the 61st Biennale opening, discover curator and co-artistic director of @busanbiennale Amal Khalaf’s (@amalandaplan) most anticipated moments in Venice.

In the lead-up to this year’s edition, we invited friends and recent collaborators to highlight the exhibitions, places, and moments they are most looking forward to, offering a way to navigate the laguna through their eyes.

Tap the link in bio to read “How Does It Feel?,” the Tidbit Khalaf contributed on transdisciplinary artist Joshua Woolford (@jshwlfrd) in the latest issue of Mousse.

Last year I was introduced to this very special place in Bangkok, by @pgm_991 and @mayadadol -@thailabourmuseum .This workers run space became on of the partners for @ghost2568ghost . Through meetings with @bssaba @pongdering and #supamas we got to know this incredible place that is home to a library, objects, stories and songs from labour movement histories in Thailand - all of this held by labour organisers themselves.The special people who run this archive of workers struggle, are rebuilding the space by themselves with volunteers from unions doing the renovation to preserve this really important history.Here are some of those people with @pgm991 at a day we held as part of Ghost 2568 last November at a beauitful gathering organised by @mayadadol and @bssaba for @ghost2568ghost.Happy May Day to all the workers and all those singing for justice.Donate to @thailabourmuseum —-@bangkokcitycity are amplifying the call to support the renovations of their space and have details on how to make a contribution on their page.

Last year I was introduced to this very special place in Bangkok, by @pgm_991 and @mayadadol -@thailabourmuseum .This workers run space became on of the partners for @ghost2568ghost . Through meetings with @bssaba @pongdering and #supamas we got to know this incredible place that is home to a library, objects, stories and songs from labour movement histories in Thailand - all of this held by labour organisers themselves.The special people who run this archive of workers struggle, are rebuilding the space by themselves with volunteers from unions doing the renovation to preserve this really important history.Here are some of those people with @pgm991 at a day we held as part of Ghost 2568 last November at a beauitful gathering organised by @mayadadol and @bssaba for @ghost2568ghost.Happy May Day to all the workers and all those singing for justice.Donate to @thailabourmuseum —-@bangkokcitycity are amplifying the call to support the renovations of their space and have details on how to make a contribution on their page.

Last year I was introduced to this very special place in Bangkok, by @pgm_991 and @mayadadol -@thailabourmuseum .This workers run space became on of the partners for @ghost2568ghost . Through meetings with @bssaba @pongdering and #supamas we got to know this incredible place that is home to a library, objects, stories and songs from labour movement histories in Thailand - all of this held by labour organisers themselves.The special people who run this archive of workers struggle, are rebuilding the space by themselves with volunteers from unions doing the renovation to preserve this really important history.Here are some of those people with @pgm991 at a day we held as part of Ghost 2568 last November at a beauitful gathering organised by @mayadadol and @bssaba for @ghost2568ghost.Happy May Day to all the workers and all those singing for justice.Donate to @thailabourmuseum —-@bangkokcitycity are amplifying the call to support the renovations of their space and have details on how to make a contribution on their page.

Last year I was introduced to this very special place in Bangkok, by @pgm_991 and @mayadadol -@thailabourmuseum .This workers run space became on of the partners for @ghost2568ghost . Through meetings with @bssaba @pongdering and #supamas we got to know this incredible place that is home to a library, objects, stories and songs from labour movement histories in Thailand - all of this held by labour organisers themselves.The special people who run this archive of workers struggle, are rebuilding the space by themselves with volunteers from unions doing the renovation to preserve this really important history.Here are some of those people with @pgm991 at a day we held as part of Ghost 2568 last November at a beauitful gathering organised by @mayadadol and @bssaba for @ghost2568ghost.Happy May Day to all the workers and all those singing for justice.Donate to @thailabourmuseum —-@bangkokcitycity are amplifying the call to support the renovations of their space and have details on how to make a contribution on their page.

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

INTERVIEW: Amal Khalaf (@amalandaplan) & Evelyn Simons (@evelyn_simons) on Busan Biennale 2026 (@busanbiennale): Curating Dissident Chorus Across Sound, Space and Collective Practice

Appointed as co-artistic directors of the Busan Biennale 2026, Amal Khalaf and Evelyn Simons are shaping a collaborative and multi-sensory curatorial vision that unfolds across the city.

In conversation with Call For Curators, Khalaf and Simons reflect on their distinct curatorial trajectories and shared methodology; from socially engaged practices and radical pedagogy to site-responsive exhibitions and interdisciplinary formats bridging art, sound and performance.

Their proposal, Dissident Chorus, positions the biennial as more than an exhibition: an evolving civic framework grounded in collective experience, embodied knowledge, and resistance. Engaging Busan’s maritime context, the project brings together installation, moving image, performance, and sound to explore how communities align, listen, and act together in times of political and ecological crisis.

Read the full interview on our blog - link in bio 🔗

#Interview #CuratorialPractice #BusanBiennale #ContemporaryArt #Biennale #ArtAndPolitics #SoundArt #PerformanceArt #CollectivePractice #CallForCurators #AmalKhalaf #EvelynSimons

[참여작가 선공개]
2026부산비엔날레의 여정을 함께할 일부 참여 작가를 선공개합니다. 이번 명단에는 국내외 미술계에서 주목받는 작가들이 포함됐으며, 설치, 사운드 등 다각적인 표현 방식을 통해《불협하는 합창(Dissident Chorus)》을 선보일 예정입니다.

곧 전체 참여 작가 라인업과 세부 전시 연계 프로그램이 순차적으로 공개될 예정이니 놓치지 마세요! 🌈

📌 전시주제: 《불협하는 합창》
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
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[Artist Partial Reveal]
The first group of participating artists for Busan Biennale 2026 is now being announced. This selection brings together artists engaging with the theme Dissident Chorus through diverse modes of expression, including installation, sound, and spatial practices.

Please stay tuned as the full list of participating artists and detailed related programs will be announced in the coming weeks. 🌈

📌 Theme: Dissident Chorus
📌 Period: Aug 29 – Nov 1, 2026 (65 days)

[키비주얼 공개]
#2026부산비엔날레 전시주제 《불협하는 합창(Dissident Chorus)》(가제)을 담은 키비주얼을 공개합니다.✨

이번 디자인은 도시 공간에서 흔히 발견되는 플라잉포스팅(flyposting), 클럽 전단지나 거리의 포스터 같은 비공식 인쇄물에서의 영감으로부터 시작되었습니다. 핵심 시각 요소인 타이포그래피의 여러 에셋을 반복·중첩 배치하여 다양한 목소리가 동시에 울려 퍼지는 ‘합창’의 상태를 시각적으로 나타냅니다.

해당 키비주얼을 기반으로 한 응용형 디자인이 차례로 공개될 예정이니 많은 기대 바랍니다.

📌 전시주제: 《불협하는 합창》(가제)
📌 전시기간: 2026. 8. 29. ~ 11. 1. (65일간)
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[Key Visual Unveiled]
We’re excited to unveil the key visual for the Busan Biennale 2026, inspired by the theme Dissident Chorus (working title).✨

This design draws inspiration from informal printed matter found in urban spaces—flyposting, club flyers, and street posters. By layering and repeating multiple typographic assets, it visualizes a “chorus” of diverse voices resonating simultaneously.

More designs coming soon based on this key visual—stay tuned.

📌 Theme: Dissident Chorus (working title)
📌 Period: Aug 29 – Nov 1, 2026 (65 days)
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Design : @works.works

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

From her work at the Serpentine Galleries and the artist-run cooperative Cubitt in London to major international exhibitions such as Sharjah Biennial 16 and the upcoming Busan Biennale 2026 (@busanbiennale), Amal Khalaf (@amalandaplan) has sought to expand what curatorial practices can achieve for communities — inviting artists whose work engages with marginalised groups, collective economies, and alternative forms of cultural production.

Working across institutions, artist-run platforms, and large-scale exhibitions, her practice often foregrounds collaboration, long-term engagement, and forms of knowledge that emerge through shared experiences. Rather than approaching exhibitions as fixed narratives, her projects often create frameworks where multiple voices, lived histories, and perspectives can coexist. In doing so, they question established hierarchies within the art world while opening space for new forms of dialogue and participation.

In this interview, Rush Mukherjee (@rushmukh_) speaks with Khalaf about the political motivations that shape her work, the tensions between storytelling and representation, and the possibilities that emerge when art institutions become sites for experimentation, collaboration, and dissent.

Follow the link in our bio to read the full story.

Looking forward to sharing more details soon ✨ @busanbiennale @evelyn_simons