Introduction of Participants

Participating Artists


Wan Chantavilasvong

Gatari Surya Kusuma

Christine Mackey

Daniel Duarte Pereira

Rakarsa Collective (Vincent Rumahloine)

Ezekiel Sales

Alexander Ugay


Chiho Park

Jimin Kim


Ambiguous Dance Company


YIAN Architects (Jiin Kim, Changgyu Choi)

Byengseok Kim


Soo Kyung Lee + Haeum



Village Participants


Youngpyo Kim · Miyoung Kim (Odu-ri)

Boksam Gwon · Sooyoung Park (Dangmok-ri)

Sail Gwon · Heeja Choi (Dangmok-ri)

Giloon Park · Mihwa Song (Odu-ri)



Curatorial Team


Sunyoung Oh 

Shinkoo Woo

Marco Kusumawijaya 

Tessa Peters

Eunsoon Yoo

Participating Artists

Wan Chantavilasvong (1989~ ) is an emerging landscape photography artist from Thailand who loves to explore different natural landscapes worldwide, from high up in the mountains to under the ocean. Her photographs often create a sense of serenity and curiosity, allowing for external exploration of the world and internal exploration of the minds. Her first exhibition in 2021, Silent Dialogue, was a collaboration with a watercolor artist which explores the dynamics between two different mediums of expression. By trade, she is also an urban and regional planning academic with research interests in environmental issues, inequality, informal workforce, and urban governance. She has sometimes used media participatory action research methodology to integrate the two interests and create photo essays that explore and document broader social issues. Such projects include Copley Square, To See Things from the Other End, We See Our Souls Better in the Dark, and Salt Fields. Her work is shortlisted in the 2013 International Fine Art Photography Competition. She received honorable mentions in the Monochrome Photography Awards for the wildlife category in 2014 and the fine art category in 2016.

Gatari Surya Kusuma, called Gatari (1993~ ), is a researcher and curator based in Yogyakarta, Indonesia. She graduated from the Indonesian Institute of Art, Yogyakarta (BA). During her study, she developed her art practice in a collective. She joined KUNCI Study Forum & Collective in 2014 and Bakudapan Food Study Group in 2015. Her joining in collective and background in art study are sharpening her view and practice on collectivism and its relation to art critical pedagogy.


She is working back and forth between collective and personal work. But, most of her collective or individual work is about building the entanglement and knowledge production of togetherness to create a solidarity network under the concept of collectivity. She believes that collectivism is not limited to productive work but also gives the space for liminal space, such as; care work, affective work, emotional aspect, and also the commons infrastructure that supports the collective; she also about how collectivity could strengthen the network without making a space for being competitive but for contaminating the collaboration. Currently, she is curating a walking project as a practice to exercise the body’s senses to the city as a space.

Christine Mackey (1968~ ) is an independent research-based visual artist attending to complex environmental issues, iterated through a range of site-specific and socially engaged contexts explored through the subject of the seed and the agency of plant matter. Her approach cultivates relational and site-responsive works that look to the smaller-scale land-based notions of nature and the act of remembering localized farms, public gardens, common lands, and vegetal systems. These lost, forgotten, or stressed subjects are transformed to reflect alternative patterns of place, ecosystems, and plant life. Through this eclectic and microscopic lens, she visualizes the entangled narratives and often antagonistic relationship between human and non-human species and pursues this interest across four developments in the way plants can be regarded and researched socially and culturally, namely: human-plant geographies; critical plant studies; cultural botany; and environmental change. Working across disciplines, Mackey’s drawings, archival and photographic images and texts, installations, public-sited interventions, temporary events, and publications generate an assemblage of materials including multiple sites of interest, archival intuitions, and community integration. Her work is speculative, open-ended, and transient while being embedded in the biological, social, and historical narratives of place and the environmental imperatives of the present. Current research engages with plant material as phyto-remediators for damaged water and soil systems co-structured as woven floating gardens Mesocosm. Running Parallel is an experimental series of works whereby the phenol capacities of plant material are grown and harvested to create an embodied expression of plants to places to people combining the composition of explorative textual narratives through text and film. 


She graduated with a Ph. D at University of Ulster and Fulbright Research Award, USA at University of New Mexico, Art & Ecology LandArts. Her major solo exhibitions include The Long Field (The Leitrim Sculpture, 2021) and Safe Hold, Wexford Arts Centre. Group exhibitions include Artists for Plants Svalbard Seed Vault, INTERFACE, CITY Highlands Gallery, Drogheda Municipal Art Gallery, Drawing Box International ongoing touring show (2022). Recent residencies and upcoming projects include; EcoShowBoat (Leitrim), Utopiana (Geneva), Politics of Food (Delfina Foundation, London), Woodland Symposium Research Residency Interface Galway (2022/2023), DRAW International (2023), France and Water LANDS Horizon (2023/27). Her work is supported through the Arts Council of Ireland Bursary Awards, Culture Moves Europe, and the Leitrim Arts Office. 

© Aoife Herriott

Daniel Duarte Pereira (1987~ ) is a Portuguese architect trained at the School of Architecture, Art and Design of the University of Minho (EAAD) in Guimarães, Portugal (2011), where he worked as an invited assistant and research scholar. He is co-founder and co-director of Space Transcribers, an architectural non-profit organization in Portugal since 2015 that explores ways to collaboratively investigate, represent and imagine the built environment. Space Transcribers’ methodology is based on immersive investigations of the places and communities in which they work through site-specific mediation and transcription activities that merge the boundaries between art and architecture through socio-political and environmental readings.


Through Space Transcribers, Daniel is currently working on the theme of water, scarcity, and energy for one of the proposals that will be part of the Fertile Futures exhibition that will officially represent Portugal at the 18th International Architecture Exhibition – La Biennale di Venezia 2023. He is also a Ph.D. candidate at the EAAD, co-supervised by the Vrije Universiteit in Brussels, researching the links between marine ecosystems, specifically seaweed, and the built environment. His research aims to shift the analysis of the built environment away from solely anthropic and urbanization narratives towards others that place the history of non-human species and natural ecosystems at the center of the discourse.

© Liliana Fontoura

Rakarsa Collective/Foundation is an arts & culture non-profit organization founded in Bandung, Indonesia in 2018. Rakarsa aims to broaden artistic practices’ possibilities, potentials, and roles in distributing knowledge to the broader public. We host and foster knowledge-sharing networks oriented to informal art education, cultural exchange, and multi/transdisciplinary practices through exhibitions, public events, and educational initiatives. 


Vincent Rumahloine (1984~ ), a member of the Rakarsa Collective, is a contemporary artist in Bandung. His work mainly revolves around people: from social issues, traditional values, human relations, and collective memories to build a connection between art, science, and communities. For his artistic practice, he works closely with different groups within the community, such as mothers and children, to address critical issues and collaborate to solve their problems. His work bridges societal gaps by adding a twist of uncanniness and using artistic strategies to get closer to the experiences and lives of (non-art-minded) others.

Ezekiel Sales (1999~ ) a.k.a. Zeke is an activist and cultural worker taking his Bachelor’s in Geography at the University of the Philippines. His research interests include philosophy, urban studies, and anthropology. He is a member of Food Today Food Tomorrow, a network of writers, chefs, and farmers advocating for food sovereignty and food justice in the rural and urban poor. He has facilitated accessible gardening and nature walk workshops with the visually impaired community in La Union through HIRAYA, a collective which promotes innovative and inclusive education. His inquiry into community care, mutual aid, cooking, and gardening while working with the urban poor has made him part of the food and environment studies collective of Halo-Halo Ecologies: where he writes about foodscapes through spatial fixes and carceral systems that reach the household. His interest in gardening and, eventually, organic agriculture has led him to incorporate farming into his artist-activist practice by learning from the land, the locals, and the permeating history of human-environment relations.


He is also part of the Participatory Food Systems Network, a collective of academics, architects, and activists dealing with issues surrounding food. He has volunteered with the farmer-scientist network of MASIPAG to gather data for climate-resilient crops and promote biodiversity.


As part of The Forest Curriculum, he has contributed to the making of How to Not Build a Nation (HTBAN) for the 2021 Sea Art Festival of Busan Biennale. He has included a panel for an HTBAN activation in the Nation Narration Narcosis shows at the Hamburger Bahnhof Museum. He did a performance lecture called A Pantry of Things to showcase concurrent issues on food systems in the Philippines and the plight of farmers and political prisoners. While in Germany, he participated in various mobilizations during the opening of Documenta 15 in Kassel and visited the Rachel Carson Environmental Center in Munich.


As part of The Forest Curriculum, he has contributed to the making of How to Not Build a Nation (HTBAN) for the 2021 Sea Art Festival of Busan Biennale. He has included a panel for an HTBAN activation in the Nation Narration Narcosis shows at the Hamburger Bahnhof Museum. He did a performance lecture called A Pantry of Things to showcase concurrent issues on food systems in the Philippines and the plight of farmers and political prisoners. While in Germany, he participated in various mobilizations during the opening of Documenta 15 in Kassel and visited the Rachel Carson Environmental Center in Munich.

The third generation of Koryoin (ethnic Korean in the former Soviet Union), Alexander Ugay uses photography, video, and collage to document stories about individuals and groups, migration histories, nostalgia originating in past experiences, and places where past and future coexist. In the 2000s, he produced his “cinema-object” series of short films shot on 8mm and 16mm cameras made during the Soviet era; since 2017, he has created his own “obscurations,” devices based on the pinhole camera approach that he uses for artistic series in which he locates historically and ideologically necessary settings in order to capture spatial and temporal continua.


His major solo exhibitions include Topology of Image (Aspan Gallery, Almaty, 2018) and More than an Image, Less than an Object (Galeria Labirynt, Lublin, 2017), and he has also taken part in events such as the 6th Moscow Biennale (2015) and the 1st New Museum Triennial (2009).

Chiho Park (1967~ ) expresses the multi-layered psychology of human beings through various media such as paintings, sculptures, and installations. Based on fundamental questions about human existence, he contemplates human destiny — distress, pain, desire, oblivion and memory, death, etc. — and tries to communicate with the world through works that express them. The erased face shape work metaphorically representing “oblivion” gives the audience the possibility of interpretation. The result of artwork made in the form of a considerable body to reveal “the traces and scars of life” expresses the accumulated time and life. While dealing with art movements and historical issues simultaneously, he is engaged in socially engaged activities while contemplating human rights issues deleted in history with various experts. Through this, he fulfills his social role and responsibility as an artist.


In 1994, he exhibited installation work, painting, and object work on the theme of the sea and humans through his first solo exhibition NoJotBada (Dansung Gallery). Since his first solo exhibition, he has been involved in art movements, such as forming the Yeosu Young Artist Association in the region. In 2014, he held a solo exhibition at Kunst Dog on the theme of human inner wounds and human life, and in 2022, a particular project, Chiho Park’s solo show BIG MAN, was held at the Jeonnam Provincial Museum of Art.

Jimin Kim (1975~ ) majored in sculpture at Seoul National University and its graduate school and received a master’s degree at Wimbledon College of the Arts. He expressed the psychological conflict from the gap between human avidity and moderation in his works by examining. Through his works, he deals with human desires that can only be possessed by being human and the human psychology that works complexly to suppress them. He uses color as a primary means to attract the audience’s attention. This eventually connects with the artist’s idea that art should be visually attractive. However, behind his artworks, visual appeal is always ambivalent in human psychology.


Kim’s representative works include The Fan (2007), Vanitas Holic (2008), The Oxymoron (2008), The Mickey Bomb (2008), The Flag (2008), Life Goes On (2015), Inside Out (2018) and Mr. Satisfaction series (2021). His major solo exhibitions include Float (Kim Chong Yung Museum, 2015), ENVy7 (Uart Space, 2021) and he has participated in Hello Materials (Pohang Museum of Steel Art, 2014), 2018 Yeosu International Art Festival (Yeosu World Expo, 2018), The Senses (Total Museum, 2019) and Product-ion in Space (Space TYPE, 2021).

Like its name, Ambiguous Dance Company is a fine arts agency that crosses contemporary dance’s boundaries and genres and shows its unique color. It was founded in 2011 with choreographer Boram Kim, who began to draw attention from the dance world by winning the Best Film award at the CJ Young Festival with Bolero in 2008.


Ambiguous Dance Company creates works based on the belief that expressing music and dance through the ‘body’ is the most accurate and authentic language. Known for their unique musical interpretation and choreography with particular movements, Ambiguous is actively continuing creative activities to release something in their hearts on stage, breaking away from the genre or concept of dance. Also, as their dance language is introduced through various platforms, they are trying to exert a good influence on many artists in the dance world and fine arts.


Body Concert released in 2010, won the Critics’ Choice Best Performance Award (2010), and various repertoires such as Coexistence, Mistake, Rhythm of Human, Fever were named Seoul Dance Collection Best Performance Award at the Seoul Performing Arts Festival (2010), Audience Prize at the 17th Masdanza International Contemporary Dance Festival of the Canary Islands (2012), Touchpoint Art Foundation Prize & Encouragement Prize at Yokohama Dance Collection EX (2014), The Best Performance Award at Korea Association of Dance Critics and Researchers Prize (2014), etc. They have been invited to various festivals, such as Hungary’s Sziget Festival, Germany’s Tanz im August, and Romania’s Sibiu International Theater Festival, and are preparing for a performance tour in France in April 2023.

Heoyong Muyong Muyong Heoyong, Cheonggye Plaza © Sanghoon Ok

YIAN, an architectural firm by Jiin Kim and Changgyu Choi researches the relationship between cities, buildings, space, and placeness. Rather than a unique and highly aesthetic building visible from the outside, we aim for architecture with comfort and its specialty that harmonizes with the place. YIAN practices a form of architecture that creates distinctiveness by customizing a structure to its location, creating a conservative, comfortable space.


The house whose living space greets you when you return from a long day’s work is whose customized specialness provides the rest that only “my home” can. The architecture that generates this kind of rest is precisely what YIAN aims to create. YIAN Architects won the Design Competition for Architecture for Jang-an Town Welfare Center in 2021.

Byengseok Kim (1979~ ) is a furniture designer and producer who majored in architecture and landscape architecture in undergraduate and graduate schools.  In 2012, Kim Byeongseok discovered his furniture-making passion and began exploring woodworking techniques. As he honed his skills, he found that his background knowledge of architecture and landscaping provided a unique perspective on furniture design and production. Using his knowledge of space and the environment, he was able to create not only beautiful but also functional and practical works.


In 2015, the artist held a private workshop (BSKWOODWORKS) to focus on creating custom-made furniture to meet customer needs. He keeps thinking about the nature of furniture.

Soo Kyoung Lee (1969~ ) majored in French Literature and then moved to France and has been working on abstract art for 25 years. Her works, which started from a profound question about existence, do not intend to convey a particular message in a metaphorical or symbolic form.  Just the things we all have and sense sensibly, that is, the existence of something indescribable in words, we constantly act so that it can be revealed on the surface as it is. The contrast or harmony, the arrangement of colors, and the variety of forms, which are rhythmic and immobile, soft and hard, in Sookyoung Lee’s works sometimes collide or harmonize well in the structure of the same plane. This stimulates the viewer’s visual tension and leads to discovering or meeting new things. As the repetition of unplanned and unintentional actions overlaps and piles up, sometimes a space of volume is drawn.


She has held solo exhibitions at various venues, including L’H du siège contemporary art center (Valenciennes, France, 2010), Carré Noir contemporary art center (Amiens, France, 2012), Trois CHA contemporary art center (Châteaugiron, 2016),  Camille Lambert contemporary art center (France, 2017), Hoban Artrieum art center (Kwang Myung, Korea, 2019) and L’orangerie du château art center (Sucy en Brie, France, 2023). She has also participated in various group exhibitions, including Cheongju Museum of Art (Cheongju, Korea, 2019), La Tannerie (Bégard, Bretagne, France, 2020), Jeonbuk Provincial Museum of Art (Korea, 2022). In 2015, she participated in the Domaine de Kerguéhennec Residence. Additionally, she regularly shows her works at Oniris Gallery in France, MM Gallery in Belgium, Artside Gallery in Seoul, and Accompany Gallery in Busan.


Haeum is a non profit organization organized by parents and children of Wando, aiming to build a village community. They strive to implement ecological education and cooperative learning based on the local community in an environment without entertainment outside of the internet and videos. Their goal is to pass down the culture of play through experience.

Village Participants of Yaksan-myeon, Wando-gun

Youngpyo Kim · Miyoung Kim, Giloon Park · Mihwa Song, Sail Gwon · Heeja Choi have been cultivating seaweeds for a long time, including seaweed, kelp, and hearing, which are representative local products of Wando. It has been ten years since Youngpyo Kim and Miyoung Kim returned to their hometown of Yaksan Island after living in Busan. Sail Gwon and Heeja Choi were born in Yaksan-do and still live there. Giloon Park and Mihwa Song worked in Gwangju and returned to their hometown six years ago. Boksam Gwon attended middle school in Yaksan-do and later lived in Yaksan-do and Yeosu while working at a post office in Gwangju. Since 2014, he has contributed to regional development by serving as chief of staff, head of the village, and chairman of the Wando-gun Federation. His wife, Sooyoung Park, moved to Yaksan-do in 2015, and she works at the ticket booth in Dangmok Port.

Curating and Cooperation

Dr. Sunyoung Oh is an independent curator and researcher. She curates socially engaged art projects with transnational research collaborators from various fields at the intersection of art and ecology involving local communities and cultural institutions: She defines it as a term “socially collaborative art project.” She received her Ph.D. from the University of Westminster with her thesis, ‘Curating Arts on the Edge of an Unstable Society (2021).’ She is the founder and director of Project 7½. Since 2014, her curatorial practice has explored the role of creativity in expressing the identity of a culture and region with a focus on the “relationship” and “differences of perspective” that emerge in the process; past projects have involved regional communities in S. Korea and Indonesia, with historical context playing an essential role in determining the project’s location. As an extension of her past projects, she is curating a socially collaborative art project titled ‘Song of the Wind’ in Yaksan-myeon, Wando-gun, Jeollanam-do, South Korea. 


Her selected exhibitions include: A Tale of Two Cities: Narrative Archive of Memories (Arco Art Museum, Yunseul Museum of Gimhae Cultural Foundation, National Gallery of Indonesia, 2017-2018); Elephant in the Room (Jakarta History Museum, 2018-2019) and Her Name Is (Asia Culture Center, 2019). A recent online project, Look Who’s Talking (2022 and ongoing), connects participatory projects in Indonesia, Korea, the Philippines, Singapore, Thailand, Denmark, Germany, and the UK (

Shinkoo Woo is an architect with a Ph.D. in Architecture (Seoul National University). He is currently a professor at the Department of Architecture at Pusan National University and leads the Lab of Urban Space & Architecture (LUSA). He has been interested in regional research focusing on the urbanism and architecture of Busan Metropolitan City. His lab, LUSA has constantly been researching the transformation and continuity of commercial areas such as Seomyeon and Gwangbok-ro, and residential areas such as hillside areas and enforced migrant areas. The results of the research were published as papers or books and presented through exhibitions at Alternative Space Island (2000), Busan Museum of Art (2001), Geumjeong-gu Office (2002), Ilmaek Cultural Foundation (2018), and Museum of Contemporary Art Busan (2020-21).


Based on academic research and exhibitions, he has participated in various projects related to urban regeneration, community development, and public space improvement. He has also practiced coordination and consulting from residents’ participatory planning to governance-based implementation and community-led maintenance and monitoring after the project. Representative projects include Gwangbok-ro Street Revitalization Project (2005-2008), Making Happy Urban Fishing Village Cheongsapo (2010-2017), and Ami-Chojang Urban Regeneration Project in Seo-gu (2014-2020).

Marco Kusumawijaya is an architect by training. While still practicing architectural design, he focuses more on urban studies and incredibly sustainable urbanism. He co-founded the Rujak Center for Urban Studies in 2010 and was its director from 2010 to 2017. He is also involved in arts due to his concern for the relationship between arts, creativity, and sustainable (urban) living. From 2006 through 2010, he was chair and director of the Jakarta Arts Council, one of the oldest arts councils in Asia. In 2012 he co-founded and built a sustainability learning center, “Bumi Pemuda Rahayu” in Yogyakarta. It hosts workshops, experiments, and residency programs for artists to work on issues of ecology and community. Since 2021 for five years, he has been a member of Jakarta Academy, a body charged with monitoring the Jakarta Arts Council, selecting the latter’s members, granting lifetime achievements for artists and intellectuals, and advising the government of Jakarta on artistic and cultural issues.

Tessa Peters is an independent curator, writer, and educator. She was Director of Contemporary Applied Arts, London (1990 – 1994), and has since worked as an independent curator in the public and private sectors, having produced exhibitions for galleries and museums across the UK. She is a Senior Lecturer in the history and theory of art and design at the University of Westminster and a researcher at the Centre for Research and Education in Art & Media (CREAM) and the Ceramics Research Centre (CRC-UK). She is also an Associate Lecturer on the BA Ceramics course at Central Saint Martins, University of the Arts, London. 

Eunsoon Yoo majored in painting and art studies at Hongik University, received a master’s degree in aesthetics, and is a Ph. D candidate in aesthetics at Hongik University. She cares about the performative identity in life and art and does art criticism and independent curation. She has curated various exhibitions such as Tic-Tock (Onsu Gonggan, 2019), an exhibition about the temporal experiences of the sick alienated from the normal pace of life, Painting as Performativity (This is not a church, 2021), an exhibition that attempts to understand painting as a performative result of the artist and a construct that changes according to social, environmental, and temporal and spatial conditions, Side-Walk (Windmill, 2021), an exhibition about the spatial experience of an aging body and a body with a disability that deviate from the standard body. From 2013 to 2022, she worked as a coordinator at the Seoul Museum of Art, and she participated as a curator at the Changwon Sculpture Biennale 2022. She is a visiting professor at Yongin University, an independent curator, and an assistant curator of Song of the Wind.