Art

Art par excellence can make us see the world around us differently. One of the pillars of the festival is the multidisciplinary art program, which takes place between and around the various stages, in the forests, dunes, beach, and in the village.

Art par excellence can make us see the world around us differently. One of the pillars of the festival is the multidisciplinary art program, which takes place between and around the various stages, in the forests, dunes, beach, and in the village.

AUG 27-31

Each year, we choose a theme that runs like a common thread through the art programming. It brings the different components together and adds context or a new perspective to the collection of artistic expressions. We share this common thread beforehand as a source of inspiration for the artists who are creating new work for us. For 2026, we are focusing on WAN/ORDE (DIS/ORDER). Ten selected creators will venture into the murky borderland between structure and destruction, rhythm and anarchy.

2026: DIS/ORDER

Chaos and order - two concepts that constantly surround us. We build systems, laws, and structures to get a grip on life, but just as often, they spiral out of control. What seems disruptive at first glance often turns out to be a breeding ground for change and innovation.

2025: Currents

Tides are natural phenomena that influence the water level of the sea. They are caused by the gravitational pull of the moon and the sun on the Earth, combined with the rotation of the Earth. These tides cause a regular rise and fall of the seawater. In many cultures around the world, the tides of the sea are not only seen as a natural phenomenon but also carry deeper symbolic meanings. In various coastal communities, such as those in Southeast Asia and the Polynesian islands, the tides are seen as a source of life and prosperity. The flood often brings fertile silt and nutrients ashore, which is beneficial for agriculture and fishing. The sea not only nourishes the people, but the returning tides also symbolize hope and the promise of continuity.

At the same time, the tides also bring a sense of fear and threat, especially for communities that are on one hand dependent on the sea but also vulnerable to its whims. In Norse mythology, for example, the sea is often depicted as an unpredictable and dangerous force, and in Japan, the concept of tsunami – a sudden and deadly tidal wave – plays a prominent role in the collective psyche. Ebb and flow are sometimes seen as symbols of the cycle of destruction and renewal that is inherent to nature. The realization that life is subordinate to the rhythm of the elements can also be seen closer to home, with islanders who live with it every day. They live in silent harmony with the tides and nature. For them, the rising tide is not just a symbol but also a source of life and prosperity, while the falling tide is both a force and a reminder of loss, weakness, and death.

Anthropologist Sir James George Frazer wrote about this in his literary work The Golden Bough: “Another ancient belief, attributed to Aristotle, was that no creature can die except at ebb tide. The belief, if we can trust Pliny, was confirmed by experience, so far as regards human beings, on the coast of France. (...) In Portugal, all along the coast of Wales, and on some parts of the coast of Brittany, a belief is said to prevail that people are born when the tide comes in, and die when it goes out.”

At the same time, the tides also bring a sense of fear and threat, especially for communities that are on one hand dependent on the sea but also vulnerable to its whims. In Norse mythology, for example, the sea is often depicted as an unpredictable and dangerous force, and in Japan, the concept of tsunami – a sudden and deadly tidal wave – plays a prominent role in the collective psyche. Ebb and flow are sometimes seen as symbols of the cycle of destruction and renewal that is inherent to nature. The realization that life is subordinate to the rhythm of the elements can also be seen closer to home, with islanders who live with it every day. They live in silent harmony with the tides and nature. For them, the rising tide is not just a symbol but also a source of life and prosperity, while the falling tide is both a force and a reminder of loss, weakness, and death.

Anthropologist Sir James George Frazer wrote about this in his literary work The Golden Bough: “Another ancient belief, attributed to Aristotle, was that no creature can die except at ebb tide. The belief, if we can trust Pliny, was confirmed by experience, so far as regards human beings, on the coast of France. (...) In Portugal, all along the coast of Wales, and on some parts of the coast of Brittany, a belief is said to prevail that people are born when the tide comes in, and die when it goes out.”

Chaos is not merely destructive. The Greeks actually saw it as a primal state: a yawning void from which cosmos, the ordered world, was born. Chaos was not a problem to be solved, but the space from which order could unfold. 

Our thinking cannot be separated from that urge for structure. The human brain searches for patterns in everything: we find the golden ratio in shells, describe how different species of cicadas base their breeding cycle on prime numbers, and build simulations to analyze the movement of flocks of birds. Whether it concerns models and formulas in science, principles and laws in philosophy, or rules of life in religion, we constantly try to bring order to the elusive reality around us.

But artistically, it often works differently. We seek creativity by thinking 'out of the box' or 'brainstorming' - letting go of fixed thinking patterns and rules, to let the mind wander freely. German philosopher Theodor Adorno therefore argued that the task of art is to bring chaos into order.


The creators in this art program operate on the boundary; between the predictable and the unpredictable, between the certainty of structure and the temptation of the unknown. Order provides a framework, a rhythm, a starting point. Chaos opens up that framework, makes rules falter, and invites play and imagination.


The program for 2026 aligns with urgent global issues such as the international rule of law and democracy under pressure, as well as societal questions surrounding climate, growth, and alienation. The artists in this program are invited to cast the theme in a different light, to build upon it, or to interpret it in another way. In this way, a series of works will be created that, despite their diversity, still share a substantial connection with one another.

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