knotes
SERIES OF KEYNOTES FROM KORP PUBLISHING
knote1
edited by korp publishing
k-notes [korp keynotes] is an editorial initiative of Korp Publishing that seeks to assemble a series of pocket-format volumes featuring essays and reflections by artists, scholars, scientists, and researchers on themes central to the foundation’s remit: the climate crisis, displacement, digital inequality, fractured supply chains, and contemporary forms of forced labour. Conceived as a portable space for rigorous and critical engagement, the series acknowledges that these crises are entangled, historically produced, and politically charged, demanding sustained interdisciplinary inquiry rather than technocratic solutions.
The inaugural volume, on the best planet, the worst of times, operates as both an introduction and a provisional epilogue to the series. It gathers contributions from the Board of Trustees, the Advisory Board, and the Scientific Committee, offering personal yet analytically grounded reflections on the constellation of issues that will form the foundation’s core concerns. Rather than advancing definitive answers, this edition foregrounds the generative potential of questions: How might we describe environmental catastrophe in ways that resist resignation and mobilise responsibility? In what terms can we address the forced mobility of people when borders become technologies of abandonment and control? What forms of accountability arise when the infrastructures that sustain life are themselves sites of exploitation and extraction?
This project insists on the necessity of unsettling disciplinary enclosures. By placing artistic practice in dialogue with social and natural sciences, k-notes recognises that the production of knowledge is never neutral but always embedded in power relations, histories of dispossession, and contested imaginaries of the future. The choice of a pocket format is not incidental but a deliberate gesture toward accessibility without simplification—a means of carrying difficult questions beyond institutional settings and into broader publics, including those directly implicated in these crises.
k-notes is therefore conceived not merely as a publishing series but as a critical apparatus for collective thought and intervention. With on the best planet, the worst of times, Korp Publishing signals a commitment to cultivating a public culture attuned to the complexity and violence of contemporary crises, while remaining equally committed to the ethical and political obligation to imagine otherwise. By foregrounding the voices shaping the foundation’s intellectual orientation, this first volume models a form of engaged scholarship that refuses abstraction divorced from struggle, and that understands critique itself as a mode of solidarity.
Biographies
Agnieszka Łukasiewicz is a prominent art producer known for her dynamic role in fostering and promoting contemporary art projects on an international scale. Born in Poland in 1985, Łukasiewicz developed a passion for the arts early in her life, which led her to pursue studies in Art History and Cultural Management at the University of Warsaw. Her academic background equipped her with a deep understanding of the art world’s intricacies, allowing her to navigate and influence the contemporary art scene effectively. Over the years, she has worked with numerous artists, curators, and cultural institutions, bringing to life a diverse range of exhibitions, installations, and multimedia projects. Her work is distinguished by a focus on cross-cultural dialogue and innovation, as she consistently seeks to create platforms that challenge traditional boundaries and inspire new conversations within the art community.
Throughout her career, Agnieszka Łukasiewicz has been instrumental in the success of several high-profile art festivals and exhibitions across Europe and beyond. She is recognized for her keen eye for talent and her ability to cultivate meaningful collaborations between emerging and established artists. Her projects often emphasize the intersection of art and technology, exploring how digital advancements can enhance artistic expression and audience engagement. In addition to her production work, Łukasiewicz is a passionate advocate for arts education and regularly participates in workshops and seminars aimed at nurturing the next generation of art professionals. Her contributions to the field have not only amplified the visibility of contemporary art but have also fostered greater accessibility and inclusivity within the art world, making her a pivotal figure in shaping the future of art production.
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Chullage, born Nuno Andrade in 1977 in Lisbon, Portugal, is a prominent Cape Verdean-Portuguese rapper and activist. Growing up in the multicultural environment of Lisbon, with its vibrant Cape Verdean communityChullage was exposed to diverse cultural influences from an early age. This upbringing profoundly shaped his worldview and musical style, fostering a deep connection to his Cape Verdean roots and a keen awareness of social issues affecting marginalized communities.
Chullage began his musical journey in the late 1990s, embracing hip-hop as a means of social commentary and expression. He quickly gained attention for his powerful and thought-provoking lyrics, which addressed themes such as racism, social inequality, and the struggles of immigrant communities in Portugal. Chullage’s music is characterized by its intricate lyricism and its fusion of traditional hip-hop with Cape Verdean musical influences, creating a sound that is both unique and resonant.
Beyond his musical achievements, Chullage is also deeply committed to activism. He uses his platform to advocate for social change, focusing on empowering marginalized communities and addressing social inequalities. His background in sociology informs his work, and he frequently participates in public discussions and seminars on topics such as racism and identity. Chullage’s impact extends beyond music, as he is actively involved in community projects and initiatives aimed at fostering positive change and raising awareness about critical social issues.
As of 2024, Chullage continues to be a leading figure in Portuguese and Lusophone hip-hop. He remains dedicated to creating music that challenges and inspires, while also contributing to the broader discourse on social justice. His legacy is marked by his unwavering commitment to using art as a tool for social commentary and change, inspiring a new generation of artists and activists. Through his work, Chullage highlights the vital role of cultural expression in addressing societal challenges and fostering dialogue about the future of marginalized communities.
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Gonçalo Santana, a poet born in Lisbon, has expanded his poetic work into various artistic media and formats. His projects explore the idea of “poetry beyond the book,” dissolving boundaries between artistic disciplines. He employs video, sound, photography, and digital art, always grounded in poetry. Since 2019, he has been part of the CO2 collective with Vasco Barbosa, exploring digital fields of thought and technology. Notable works include his collaboration with legendary graphic designer Ricardo Mealha for the inauguration of Rua Cor de Rosa in Lisbon and the “Post-It Poetry” project, which began in Lisbon in 2016 and expanded to Mindelo, Cape Verde, resulting in a bilingual book and a significant exhibition at CNAD.
In recent years, Gonçalo has engaged in various innovative projects. In 2018, he created “Involuntary Poetry,” an interactive digital installation, followed by the immersive installation “Hello Darkness My Old Friend” in 2019. He also published “Universo de Bolso,” a collection of 100 poems, and directed a music video for the project “Lina//Raül Refree,” which was a finalist at the One Short Film Festival in New York. His work with the CO2 collective includes large-scale digital installations, such as “O Guardador de Livros” at the Royal Library of the Ajuda Palace and the ocean-inspired piece for the “Gliding Barnacles” festival. His ongoing collaboration with the CO2 collective and other artists continues to produce large-format digital pieces for the Morais Leitão collection. In 2024, he published the poetry book “A Poesia é uma Tia Solteira” and was invited to the Lisbon Poetry Festival.
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Paulo Arraiano [Portugal, 1977] has a degree in Communication from ISCEM [Lisbon], and Visual Arts at Ar.Co - Centro de Arte e Comunicação Visual [Lisbon]. Currently, he works as a visual artist, co-founder of Re_act Contemporary, art laboratory and residency programme based in the Azores Islands, WATA Publishing, founder of No.Stereo, an independent artist-run platform and Course Director for New Media in Contemporary Arts at Cascais School Of Arts and Design.
Paulo’s research relates to the idea of visual seismography, assessing surges concerning new natural, social and cultural paradigms. This artistic production interweaves with his research which involves matter and anti- matter, and engages the body, the landscape and technology to address questions concerning climate changes, biosphere, extinction, transhumanism and the anthropocene.
Paulo Arraiano is represented by Uma Lulik_ [Lisbon] and Dimora Artica / Candy Shake Gallery [Milan]. He has participated in several exhibitions, both solo and collective including Uma Lulik_ [Lisbon]; Dimora Artica [Milan]; La Casa Encendida [Madrid]; MAAT Museum [Lisbon]; Berardo Museum [Lisbon]; Vellum/LA, [Los Angeles]; Wilhelm Hack Museum [Ludwigshafen]; Candy Shake Gallery, [Milan]; Gr-und [Berlin]; Porta33 [Madeira Island]; Hawaii-Lisbon [Lisbon]; Hangar [Lisbon]; Balcony [Lisbon]; Pivô [S.Paulo]; Museu d’Història de Catalunya [Barcelona]; Art Rotterdam [Rotterdam]; Cidade das Artes Museum [Rio de Janeiro]; MAH Museum [Azores]; Quartier General, Centre d’art Contemporain [La Chaux-de-Fonds]; Aeroplastics Contemporary [Brussels]; Petra Gut Contemporary [Zurich]; TAL Gallery [Rio de Janeiro]; ArtRio [Rio de Janeiro]; Pena Palace [Sintra]; Galeria Graphos [Rio De Janeiro]; Museu do Côa [V.N. Foz Côa; Hifa, Harare International Festival Of Art [Zimbabwe]; Câmara Municipal do Porto [Porto]; Museé d’Art Moderne [Luxembourg], Miami Basel [Miami]; National Building Museum [Washington DC]; P28 [Lisbon] among others. Paulo Arraiano has also participated in several artist residency programmes and festivals, such as Loop [Barcelona]; Hangar (Lisbon); Fuso Videoarte [Lisbon]; Walk & Talk [Azores]; Transforma [Torres Vedras]; LAC [Lagos] Dutch Design Week Loop [The Netherlands] among others. He is represented in both public and private collections such as CAC Málaga Museum, [Spain]; Luciano Benetton Collection [Italy]; Quartier-General Arts Center [Switzerland]; Museu de Angra do Heroísmo [Azores]; Sztuki Zewnetrznej Foundation [Poland]; Travessa da Ermida [Portugal]; Pestana Group [Portugal]; MARCC [Portugal]; Fundação D. Luís / Museum Quarter [Portugal] and several private collections.
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Cindy Sissokho (b. France) is a curator, cultural producer, art consultant, and writer with a focus on anticolonial, social and political practices within the arts, and culture. Her curatorial work is nurtured by the urgency to broaden and disseminate knowledge and artistic production from systemically racialised and marginalised perspectives. She currently works as a Curator at the Wellcome Collection in London.
She was the co-Curator of the French Pavilion by artist Julien Creuzet, with Céline Kopp for the 60th edition of the Venice Biennale in 2024. She previously worked as a Curator at the New Art Exchange and in the Exhibitions & Public Programmes team at Nottingham Contemporary.
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Julianknxx’s work merges his poetic practice with films and performance; he engages in a form of existential inquiry that at once seeks to find ways of expressing the ineffable realities of human experiences while examining the structures through which we live.
In casting his own practice as a ‘living archive’ or an ‘history from below’, Julianknxx draws on West African traditions of oral history to reframe how we construct both local and global perspectives. He does this through a body of work that challenges fixed ideas of identity and unravels linear Western historical and socio-political narratives, attempting to reconcile how it feels to exist primarily in liminal spaces.
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Tristany Mundu (b. 1995) is a transdisciplinary artist, musician, performer, visual artist, producer, creative director and curator who paints with his voice, illustrating the reality in which he lives through his gaze and the gaze of those around him. Born and raised in Linha de Sintra, Lisbon, Tristany Mundu is of Angolan and Portuguese origin. He is currently developing his next work, in which he will continue to explore the identity of Linha de Sintra and contribute to its development.
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Fidél Évora, born in 1984 in Santa Catarina, Cape Verde, is a distinguished visual artist and creative director known for his unique blend of Afro-European cultural influences. Growing up in a Cape Verdean community in the Netherlands after moving there at a young age, Évora was exposed to a diverse range of artistic and cultural experiences that deeply informed his creative vision. He pursued formal education in the arts at the Willem de Kooning Academy in Rotterdam, where he honed his skills in graphic design and fine arts. Throughout his career, Évora has drawn inspiration from his dual heritage, exploring themes of identity, cultural duality, and the intersection of tradition and modernity in his work. His art often features vibrant colors and intricate patterns, reflecting the dynamic blend of African and European aesthetics.
Fidél Évora’s career has been marked by numerous exhibitions and collaborations across Europe and beyond, earning him recognition as a significant figure in the contemporary art scene. His work has been displayed in prestigious galleries and art fairs, including the Amsterdam Biennale and exhibitions in cities such as London, Berlin, and Lisbon. Évora’s art challenges conventional boundaries, using a mix of mediums, including painting, digital art, and installations, to create thought-provoking pieces that engage audiences in discussions about identity and cultural exchange. Beyond his visual art, Évora is an active voice in promoting diversity in the arts and often participates in workshops and lectures aimed at inspiring the next generation of artists. His contributions to the art world underscore the power of creativity in bridging cultural divides and fostering understanding between different communities.
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Paulo Ávila Sousa (Angra do Heroísmo, 1976) Visual Artist, Co-Founder of Re_act Contemporary - an art laboratory and residence program based in the Azores Islands; Re.function - The Eco Sustainable Art Residency ; Geração de Amanhã, Cultural Association and Azores Coffee Producers Association (APAC). Holds a degree in Communication Design by (FBAUP) Faculty of Fine Arts, Porto. Paulo Ávila Sousa art work is based on the deconstruction of objects and materials and their decontextualization of the purposes for which they were created. An ephemeral exercise of Man with Matter and its relationship with Nature and the Cosmos. He is interested in developing sustainable and creative projects and is a member of the board of (IAC) Azorean Institute of Culture; Geração de Amanhã Cultural Association and Oficina d´Angra Cultural Association.
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Pedro Vaz (1977 - Maputo, Mozambique), graduated in painting from FBAUL, Portugal, in 2006. His work is based on the themes of nature and landscape, working mainly in painting, video and installation. Personal contact with real environments is fundamental to his practice and these projects often include a guided tour. His process varies between immersion in nature through expeditions and experiencing memory induced qualities of abstraction when working in his studio.
The artist has recently presented several solo exhibitions, such as Num único Acorde, Carpintarias de São Lázaro, Lisbon, PT, 2024; Place of Contact, SACO - Bienal de Arte Contemporáneo, Antofagasta, CH, 2023; Path of Power, Enrique Guerrero Gallery, Mexico City, MX, 2023; Num único acorde, at CAB - Centro de Arte Caja de Burgos, Burgos, ES, 2021.
He also took part in the following group exhibitions: FAMILY ALBUM, Carmona e Costa Foundation, Lisbon, PT, 2024; Exhibit A, Document, Chicago, US, 2024; NON FINITO - CACE, Castelo Branco, PT, 2023; Loops.Expanded, 2021, MNAC - Museu Nacional de Arte Contemporânea, Lisbon, PT, 2021; LA TORMENTA, Centro Cultural Teopanzolco, Cuernavaca, MX, 2020; O Olhar Divergente, Arquipélago - Centro de Artes Contemporâneas, Azores, PT, 2019; Depois do choque, os trópicos, Galeria Luísa Strina, São Paulo, BR, 2018; Second Nature, The Kreeger Museum, Washington D.C., US; 2018; Second Nature, MAAT - Museum of Art, Architecture and Technology, Lisbon, PT, 2017; Link, Ano Zero - Coimbra Biennial, Coimbra, PT, 2015.
His work can be found in the collections of museums and foundations such as CAM - Calouste Gulbenkian Foundation, Lisbon, PT; Serralves Foundation, Porto, PT; MAAT - EDP Foundation, Lisbon, PT; State Contemporary Art Collection (CACE), Lisbon, PT; PLMJ Foundation, Lisbon, PT; Centro de Arte Caja de Burgos - CAB, Burgos, ES; CAC Málaga Art Centre, Malaga, ES, among others.
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Tereza Fernandes is a celebrated musician and cultural ambassador renowned for her contributions to preserving and promoting traditional Cape Verdean music. From a young age, she had a natural passion for “batuque,” a traditional music and dance genre native to Cape Verde. This passion led her to form the group Tradison di Terra in 2003. Under her leadership, the group gained significant attention for its vibrant performances and dedication to cultural heritage.
Tradison di Terra’s reputation grew as they participated in both local and international events. Their performances at the Festival of Black Arts in Algeria and Senegal in 2009 were particularly noteworthy, as they showcased the rich cultural traditions of Cape Verde on a global stage. In 2012, the group released their album “Nôs Bandera,” which went on to win at the Cape Verde Music Awards (CVMA) in 2013. Since then, Maria Teresa has continued to captivate audiences worldwide with her performances, spreading the essence of Cape Verdean culture through her music.
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about korp found
ation
korp Foundation for Arts and Science is an international platform for artistic research, critical thinking, and systemic advocacy. Founded by philanthropist and art patron Stefan Nilsson, Korp serves as a living laboratory and academy - both conceptual and physical - uniting artists, curators, scientists, and researchers across disciplines and geographies. Together, we explore and respond to the most pressing challenges of our time: the accelerating climate and ecological crisis, deepening inequalities between north and south, systemic economic fragility, and the urgent need to radically, as agents of change reimagine how we live, create, and connect.
The foundation works as a laboratory of investigation and action through geographical acupuncture in the field of culture, science and education, promoting residency programs, exhibitions, academic programs and scientific research as well as fostering deep connections and community engagement.
Korp foundation is committed to questioning the structures that uphold exploitation, whether through digital inequality, fractured supply chains, or modern forms of forced labor, while elevating art as a central force in shaping new narratives and new systems. At the heart of our work is the belief that artistic conceptual thinking is not peripheral to progress, it is its engine.
Our flagship is to develop, to question, to influence, and to inspire transformation in pursuit of diversity, coexistence, and a more just, sustainable future.
Impact, rethought
korp foundation acknowledges that we are still navigating a world predominantly shaped by material wealth and capital-driven systems. Rather than reject these forces, we choose to recode them. Through our dedicated Seed Investment Programme, we support early-stage ventures that are committed to impact, those who dare to align profitability with planetary stewardship, social equity, and regenerative design.
korp foundation acts as a shapeshifter within the economic landscape, reimagining capital not as an end, but as a tool for healing and transformation. We channel resources toward companies that address climate change, engage in socially conscious practices, and are fundamentally dedicated to systemic change. In this emerging paradigm, the planet is no longer a silent backdrop to human progress - it becomes the primary stakeholder in every decision.
By providing catalytic funding, mentorship, and access to a global network of thinkers and makers, we empower entrepreneurs who carry the courage and vision to rewire the DNA of business. We believe that capital can be conscious, that profit can be purposeful and that a future rooted in justice and collaboration is possible.
about re_act contempo
rary
Re_Act Contemporary is a laboratory and residency programme based in the Azores Islands, operating across the entire archipelago and internationally, with its main base on Terceira Island. Positioned at the crossroads of oceanic routes and histories of migration and exchange, Re_Act invites artists and thinkers to critically engage with the climate crisis, environmental justice, and the complex entanglements of natural and human diasporas.
Set in the North mid-Atlantic—a place long steeped in myth, from Atlantis to other oceanic imaginaries—this residency embraces the archipelago’s unique position as both frontier and refuge. It foregrounds the layered histories of extraction, displacement, and cultural encounter that have shaped these islands, offering a living laboratory to question and reimagine relations between species, territories, and systems of knowledge. Acting like a stone in the middle of the Atlantic that connects artists from multiple continents, Re_Act aims to foster a rethinking of pan-oceanism—understood as an interconnected vision of oceans, lands, and cultures beyond borders.
Re_Act promotes ongoing dialogue between the cultural and the natural, the material and the immaterial, the human and more-than-human. It places particular emphasis on post-colonial perspectives that interrogate the lasting effects of imperial exploitation, asking how artistic practice might address inherited imbalances between Global North and South. In this setting, artists are encouraged to confront the legacy of technological systems developed for surveillance, control, and resource extraction—while also exploring how technology might be reimagined as a tool for environmental stewardship and cultural healing.
The residency’s curatorial approach supports artists working at the intersection of technology and ecology who seek to research in a geographically remote, volcanic environment—a territory that appears suspended in time and space yet is deeply enmeshed in global networks of trade, tourism, and climate vulnerability. Here, the apparent neutrality of an island landscape is challenged, becoming a site to unpack histories of colonial mapping, resource exploitation, and ecological degradation.
Against the backdrop of accelerating technological change and the seductive speed of digital culture, Re_Act fosters a slower, more attentive mode of perception. It recognises how digital communication, new media, and immersive technologies shape not only our experiences of time and space but also our relationship to nature—often deepening alienation from the sensory, the contemplative, and the organic. Yet in this tension lies possibility: the residency invites practices that recover myth, magic, and ancestral knowledges, weaving them into contemporary critique and artistic experiment.
Artists-in-residence enter this living matrix to work across layers of reality and post-reality, in dialogue with matter and non-matter, myth and materiality. This laboratory is not only a place for artistic production but a space for shared inquiry into how we might live differently—acknowledging our responsibilities to the lands and waters we inhabit, and imagining new modes of solidarity across distances, cultures, and species.