Who participates in this project?

Mentors & Mentees


Rosa Pera
Curator, critic, teacher on art and design, cultural management and contemporary art consultant.
She is currently the curator of the exhibition “Radical Curiosity. In the Buckminster Fuller Orbit” that will be held at Espacio Fundación Telefónica (Madrid, March-August 2020) and at the ArtsScience Museum in Singapore (Fall 2020). She is also the General Curator of the II Global Youth Culture Forum “Having Fun: Popular Culture, Identity and Representation. Transdisciplinary Knowledge to Invent New Imaginaries Together” (Jeju, South Korea, October 2019).
Teacher of Research Processes in Art and Design in the Master's Degree in Research and Experimentation in Design at BAU Design College of Barcelona
Teacher-consultant of History, Theory & Critique of Design (UOC-Open University of Catalonia).
PhD student, writing her Doctoral Thesis on: Hybrid Institutions: Design as communicating vessel with Science, Contemporary Art and Architecture (UVIC-Universitat de Vic. Cultural Studies Department).

General Curator of the Global Youth Culture Forum (Jeju, South Korea, October-November 2018).
Founding Director Bòlit, Girona Contemporary Art Center (2008-2012) Member 1st. Executive Committee of Culture (Barcelona City Council, 2009-2012)
Director master degree “Direction and Design of Exhibition Projects” Elisava, School of Design and Engineering (2006-2011).

Curated Exhibitions (selection):

TransUtopies. Mobility, Movement, Mobilization (CentroCentro, Madrid 2018); Flaix 2042 (Palau Robert, Barcelona, 2017); On the Table. Ai Weiwei (La Virreina Center of The Image, Barcelona, 2015); Out Of Place (Design Hub-Design Museum, Barcelona, 2015). At Bòlit. Contemporary Art Center. Girona (2012-2008, selection): Límbicus, Dread of being Devoured, Desire to be Devoured, Altar Ego, Variable Future, Dark Nights of the Soul, Landscape?; Quòrum (La Capella, 2004); Roving. Portable Culture. Attitudes And Prototypes In Public Space: The Museum And The City (Centro Andaluz de Arte Contemporáneo, Sevilla, 2004); On Translation: Die Stadt + symposium PROJECTING. Image. Intervention. Construction. Public Space (CaixaFòrum, Barcelona, 2004); Insideout: Jardín del Cambalache. (Fundació Antoni Tàpies, Barcelona, 2001)

Antoni Hervas
2001–2006. BA in Fine Arts, Universitat de Barcelona.
2007–2009. Advanced Vocational Training programme in Fine Arts and Design in printmaking, Escola Llotja, Barcelona.

Recent Solo Exhibitions
2019. “Discord”. Mutaciones 2019. Gurugú (Madrid)
2018. “The Rubbery”. 1646. The Haag. (Netherlands)
2016 “El misterio de caviria”, BCN Producció'16/La Capella, Barcelona
2016. “Agon”. etHALL, Barcelona
2015. “KakanouresiKitschades”. Sis galería, Sabadell
2012. “Hérculesen La Luna”. Espai Cultural Caja Madrid, Barcelona
My practice stems from a research around the limits of drawing. This discipline, simple and elastic in its essence, allows other disciplines - such as performance, narrative, archives and sculpture - not only to conform but to be absorbed by it, expanding and potentially increasing its creative capacities. I understand this approach to drawing as a collaborative and liquid process which becomes contaminated by its surroundings, generating an a-temporal vortex for different encounters to clash, share, celebrate, be assembled and re-assembled.

Through recent and forthcoming commissions at Fundación Botín (Santander. Spain) La Capella and MACBA (Barcelona, Spain), 18th Street art center (Los Angeles, US), 1646 (Den Haag, Netherlands) I have been researching archives of minority cultural and social practices, collaborating with communities of local clowns, musicians, cabaret performers, and athletes from minority sports including male gymnastics, synchronised swimming, and roller derby. I am interested in amateur practices of popular theater and local phenomenas as a form of resistance. A subversive way to self express through comedy and entertainment remarking the mythology, queer culture, and selforganisation associated with these practices. Held in the margins by often gender-determined regulations, these fragile but resilient pursuits create vital space for their communities to train, learn, socialise and perform.

My work drinks from popular culture, local subcultures, oral traditions and archives of resistance; often what appear to be diverse or irreconcilable findings are interwoven through drawing to give them their own shape. This provokes a ‘frankensteinian’ result: using a collage approach new narratives are generated and transmitted through performative activations or collective experiences. Using this hybrid approach of drawing, performance, sculpture and installation I work with these groups and their archives, to generate a specific focus on their stories of activism, support structures, survival strategies and community.
Eunhae Jung
Community artist, Eco-art activist, Art therapist
2005~2007. MA in Art therapy, The School of the ArtInstitute of Chicago, USA
1993~1997. BA in Art and Art History, Queen's University, Canada

Eunhae Jung is a community artist, eco-art activist, and art therapist. Her work focuses on the aspect of art that is deeply healing and transforming. After working as a curator at a new media art center in Seoul, she went to study art therapy and community art and became a registered art therapist in Chicago. She was deeply moved by the power of art that heals and transforms at a psych hospital and at the residential treatment center for the troubled youth where she worked. This experience made her trust in the process of art and formed a foundation for her engaged art practice.

About 10 years ago, she found home in Jeju, and began to bring her interests and experiences together. She does eco-art projects, community art and art therapy workshops. And she is a co-leader of ECO OROT, a grass-root organization that is found on the belief that the destruction of the environment and community are deeply related at their core, and we do community-based projects that put ecology at the core. Recent projects include Ocean Forest: Jeju Old Ocean and Disappearing Soft Coral and Plastic Mandala. Ocean Forest brought approximately 500 people to crochet soft corals that have been destroyed by the construction of naval base in the south part of Jeju. Plastic Mandala invited people in the community to sift sand to find small ocean plastic pieces, and then install the pieces in a large mandala format as a visual form of apology.

Alfonso Borragán
Born in Santander in Summer of 1983. He holds an MFA from the Slade School of Fine Arts, London and teaches in Goldsmiths College (London). Lives and works in London.

His work can be interpreted as the development and tracking of an irreproducible experience. As an artist, he claims images that don’t exist, latent graphias that are instants of an experience that cannot be completely revealed. He works with intangible experiences; the emptiness of vision; the measure of incommensurables; paradoxes that are found in the inversion of popular and scientific beliefs; potential instants able to generate a vague momentum, the critical instance in which the generation of images is strengthened within an infinity of sensorial events.

His work attempts to provide a vehicle for an experience. He creates situations and devices that are born to be consumed and that seek to change in some way the perception of reality, to broaden or interfere in it. Such devices are developed on a symbiotic level, intrinsically connected to man, by a correspondence that is activated through him and disappears with him. His works are consumed with the experience, which equally dilates each piece with the other.

He has carried out and shared his projects in Spain, Portugal, Germany, United Kingdom, Switzerland, Norway, Canada, USA, Colombia or India. His last projects have been exhibit at the old Born Market, Barcelona (litofagos: ærolito) at GilvertoAlzate Foundation, Bogotá (Fosfofagia 04); Cervantes Institute, New York (Documentation of 19 days living in a cave); Slade School of Fine Arts, London (æther); or Khoj, India (Fosfofagia 03); Furthermore he has taught and delivered workshops and Lectures at Slade School of Fine Arts, Camberwell College of Arts, London College of Communication, Swansea Metropolitan, Plymouth University, La ColegiaturaColombiana, Cantabria University, Barcelona University, Institute of advance Architecture of Catalonia (Iaac), and at Institute of Photographic Studies of Catalonia (iefc).

Kidai Kim
Sculptor, Public fine artist
Kidaiholds BFA on Sculpture and Minored Architecture and business administration, Seoul University

E-mail: seaweedjeju@gmail.com

Kidai Kim is a promising young artist, founder and CEO of Lingkel (링켈) Design Group, and strong advocate for sustainable development and the role art can take in enhancing the aesthetic beauty in our daily lives. The boy, who once told a teacher he wanted, “to save the world through art”, strives to capture that passion in every piece. Originally from Pusan City, Kidai is currently working as a sculptor in a rustic mountain village on Jeju Island.

While studying art Kidai realized his crippling dyslexia was going to be an issue. Not able to even hold a pencil at times, Kidai moved to sculpting. After working for an architecture firm responsible for various projects related to public art and design, such as the JejuBonte museum construction, Kidai moved to Jeju Island in 2013 and began to start hone his craft and his unique personal creative style. Drawing from his past experiences, Kidai showcased his visions through public art and architectural design by working as a resident artist at Lee Jung-seob Gallery. At the 2014 JejuGasiri Peace Festival, Kidai introduced his passion for sustainable art concepts with a new functional and technical reinterpretation of objective space. He has crafted various eco-friendly arts through sculpture, furniture, and flowerpot, with a particular focus on ocean waste. His showcase centered around a “peace tree”, made from a tree Kidai spent a year collecting from the ocean.

Kidai believes artist have a responsibility to give back and he started to do so in the his own Jeju neighborhood. He started to collect more trash from the ocean waters around Jeju for his artwork. He began to teach an art class called “How to overcome the fear of art” and also volunteered his time and artistic knowledge at several schools and Hamdeok women’s association. During his time teaching, he created a piece called, ‘Floating Sorrow on the Ocean” by upcycling tens of thousands of discarded fishing nets to express the sorrow of the “Jeju 4.3 incident” in 2016. Another piece was a wooden bench installed for children in Seonheul Branch School in Jeju that embodies the curve of hills, wind and sea waves in Jeju.

Kidai is currently living in Jeju and constantly works on a number of art projects related to ocean waste, such as bio-plastic exhibition, and upcycled furniture from ocean waste. Since his first exhibition at Seoul National University in 2007, he has carried out 14 different art projects and is getting involved in youth art activities for revitalizing the old central town in Jeju. Kidai knows now he might not be able to, “save the world through art”, but lives by an old Bob Marley quote, “Art can’t change the world but art can give us hope to change the world.”