WE TRAVEL TO KNOW OUR OWN GEOGRAPHY VENICE BIENNALE 2026From May 6–9, Kuboraum returned to Venice for the third edition of We Travel To Know Our Own Geography, a four-day program of performances, live concerts, and site-specific interventions presented during the pre-opening weekend of the 61st Venice Art Biennale.
Hosted within the public program of the School for Curatorial Studies Venice, located in the premises of a Secondary School in Castello 1808, this year’s edition brought together artists working across performance, music, choreography, and visual art, reaffirming the festival’s commitment to hybridity and contamination as tools for resisting fixed definitions, genres, and identities.
At the centre of the 2026 edition was Moyang 先祖 & Seaman 漁師, the latest collaboration between Tianzhuo Chen (ASIANDOPEBOYS) and Indonesian choreographer Siko Setyanto. Conceived as both performance and scenographic installation, the work transformed the space into a site of ritual, ancestral memory, and collective imagination. Joined by musicians Kadapat and Nova Ruth, Setyanto activated a meditative journey where choreography, sound, and mythology converged, establishing the conceptual and visual core of the festival.
Across four days, the program expanded through a constellation of performances navigating memory, belonging, transformation, and embodied knowledge. Joshua Serafin presented Relics: An Eye Once Blind, a work-in-progress exploring ancestral memory through the fragmented histories embedded within family lineages. Kianí del Valle and Ziúr‘s De Brujas y Fantasmas revisited the figure of the witch as a repository of healing knowledge and a mediator between visible and invisible worlds.
Music remained a central thread throughout the festival. FRANKIE and Kelman Duran performed McArthur, their collaborative album released through Kuboraum Editions, while Ziúr and Sandi presented Home alongside Martina Bertoni and Sara Persico, reflecting on the shifting meanings of belonging through voice, electronics, and live instrumentation. Emiliano Maggi expanded his hybrid artistic language through a live performance accompanied by a choir, while Romain Azzaro and Cosimo Damiano contributed distinct sonic journeys moving fluidly across genres, atmospheres, and temporalities.
Across these days, Venice became a meeting point for people arriving from all over the world: different geographies, backgrounds and languages. Some came with suitcases in hand, just to be there with us for a few hours before catching their flight in the early morning. What emerged was a space of inclusivity, care and encounter, held together by everyone who chose to be part of it.
Maybe this is what We Travel To Know Our Own Geography means: to move towards one another, to cross distances, and to recognize something of ourselves in the presence of others.
asiandopeboysbiennalekuboraumkuboraum editions
From May 6–9, Kuboraum returned to Venice for the third edition of We Travel To Know Our Own Geography, a four-day program of performances, live concerts, and site-specific interventions presented during the pre-opening weekend of the 61st Venice Art Biennale.
Hosted within the public program of the School for Curatorial Studies Venice, located in the premises of a Secondary School in Castello 1808, this year’s edition brought together artists working across performance, music, choreography, and visual art, reaffirming the festival’s commitment to hybridity and contamination as tools for resisting fixed definitions, genres, and identities.
At the centre of the 2026 edition was Moyang 先祖 & Seaman 漁師, the latest collaboration between Tianzhuo Chen (ASIANDOPEBOYS) and Indonesian choreographer Siko Setyanto. Conceived as both performance and scenographic installation, the work transformed the space into a site of ritual, ancestral memory, and collective imagination. Joined by musicians Kadapat and Nova Ruth, Setyanto activated a meditative journey where choreography, sound, and mythology converged, establishing the conceptual and visual core of the festival.
Across four days, the program expanded through a constellation of performances navigating memory, belonging, transformation, and embodied knowledge. Joshua Serafin presented Relics: An Eye Once Blind, a work-in-progress exploring ancestral memory through the fragmented histories embedded within family lineages. Kianí del Valle and Ziúr‘s De Brujas y Fantasmas revisited the figure of the witch as a repository of healing knowledge and a mediator between visible and invisible worlds.
Music remained a central thread throughout the festival. FRANKIE and Kelman Duran performed McArthur, their collaborative album released through Kuboraum Editions, while Ziúr and Sandi presented Home alongside Martina Bertoni and Sara Persico, reflecting on the shifting meanings of belonging through voice, electronics, and live instrumentation. Emiliano Maggi expanded his hybrid artistic language through a live performance accompanied by a choir, while Romain Azzaro and Cosimo Damiano contributed distinct sonic journeys moving fluidly across genres, atmospheres, and temporalities.
Across these days, Venice became a meeting point for people arriving from all over the world: different geographies, backgrounds and languages. Some came with suitcases in hand, just to be there with us for a few hours before catching their flight in the early morning. What emerged was a space of inclusivity, care and encounter, held together by everyone who chose to be part of it.
Maybe this is what We Travel To Know Our Own Geography means: to move towards one another, to cross distances, and to recognize something of ourselves in the presence of others.
asiandopeboysbiennalekuboraumkuboraum editions
