Theme
The Korean Nature Artists’ Association–Yatoo, founded in 1981, has pursued an aesthetics of coexistence and symbiosis among nature, art, and humanity. Since organizing the first Geumgang Nature Art Biennale in 2004, Yatoo has held a total of 11 editions through 2024, establishing the Biennale as a festival and platform for exchange among nature artists from around the world.
In its 23rd year since its inception, Geumgang Nature Art Biennale 2026 will present its 12th edition under the theme “Urban Nature Art: Let the Sunlight in through My Window.” Taking place from September 12 to November 8, 2026, the Biennale will unfold primarily at the Former Gongju Brewery, as well as at Nature Art Museum Ko, Jemincheon Stream, and other sites throughout the old downtown area of Gongju. While previous editions have primarily taken place in natural environments such as Yeonmisan Mountain and Geumgang Ssangshin Park, this year’s Biennale expands into the urban environment, presenting a new form of nature art exhibition under the concept of “Urban Nature Art.”
Here, “Urban Nature Art” refers to a conceptual framework that explores nature art and the ecology of the contemporary city through practices such as nature art, ecological art, eco-techne art, and public art engaging with nature in urban environments. The “window” in “through My Window” is a metaphor that expands from each individual citizen’s window to the home, social community, and city. It represents an “interface for symbiosis” that mediates between the individual and the community, the interior and the exterior, and humans and nature. The “sunlight” in the phrase “Let the Sunlight in” indicates that the Biennale goes beyond simply exploring the forms of nature. Instead, it draws attention to natural phenomena as non-human agents, as well as to the principles of existence and ecological processes through which nature operates. Finally, “Let … in” conveys the aspirations of citizens who call upon participating nature artists to bring the sunlight of regeneration, renewal, and recovery into the cold, gray urban environment.
A total of 309 teams (310 artists) from 52 countries are participating in this year’s Biennale. The Main Exhibition, comprising outdoor and indoor exhibitions, features 31 teams (32 artists) from 17 countries. The Special Exhibition, Nature Art Cube Exhibition, brings together 280 artists from 48 countries, alongside international and domestic collaborative projects and a diverse range of accompanying programs.
Geumgang Nature Art Biennale 2026 seeks to explore the possibilities of coexistence among nature, art, and humanity, while bringing together creative and experimental approaches to nature art and ecological art. We hope that you will take a keen interest in and visit the Biennale. We also wish to share with you, our audience, this new time of sunlight cast upon the old downtown of Gongju by nature and art.
Kim Sungho is an invited professor in the Department of Sculpture at Sungshin Women’s University and works as an art critic.
He studied Theology at Presbyterian University and Theological Seminary, Western Painting at Chung-Ang University, and Culture and Arts at the Graduate School of Arts at Chung-Ang University. He also completed the Diplôme d’Études Approfondies (DEA) in Philosophy at Paris Nanterre University and earned a Ph.D. in Aesthetics and Art Sciences from Université Paris 1 Panthéon-Sorbonne.
He has served as a curator at Moran Museum of Art, editor-in-chief of Misul Segye, and director of the Kunst Doc Art Research Institute. He has worked as General Director or Artistic Director for numerous major exhibitions and art projects, including the 2008 Changwon Asia Art Festival, the 2014 Geumgang Nature Art Biennale, the 2015 Busan Sea Art Festival, the 2016 Suncheon Bay International Eco-Environmental Art Festival, the 2018 Korean Special Exhibition at the Dakar Biennale, the 2020 Changwon Sculpture Biennale, the 2021 Gangwon International Triennale, the 2022 Green Renaissance Project, the 2022 Hangang Sculpture Project, and the 7th Anyang Public Art Project (2023).
He has also served as an adjunct professor in the Department of Western Painting at Chung-Ang University, director of Yeoju Museum of Art, and postdoctoral researcher at the Ulsan National Institute of Science and Technology (UNIST).
He is the author of six books, including The Ontology of Artificial Intelligence and Images (2024), and has contributed to 21 collaborative publications, including Curating Art (2022). He has also published 18 papers in KCI-indexed academic journals, including “Faction Storytelling in Visual Arts Curating” (2022).