Frequently Asked Questions

The Gyeonggi Art Collective Cooperative is a producer cooperative aimed at supporting artists in Gyeonggi Province and revitalizing the cultural arts ecosystem. Through autonomous, self-reliant, and self-governing cooperative activities, we promote the sustainability of artistic creation and contribute to the cultural and artistic development of local communities.

Gyeonggi Art Collective carries out a diverse range of activities including arts support programs, music production and distribution, concert planning and management, cultural arts education, and artist networking and collaboration support. We directly support members' creative activities and grow together with local communities.

Artists living or working in Gyeonggi, arts and culture organizers, and anyone who thinks this work should exist can join. Fill out the form on the Connect page and we'll get back to you after review.

You can sign contracts and issue tax invoices under the cooperative's name. The cooperative handles bookings, payments, and settlement. You can perform in our own series or programme one yourself, and produce and distribute recordings with us. You can apply, under the cooperative's name, to grants that individuals cannot qualify for. That said, this is not a place that pays back what you put in. It is closer to gaining colleagues who back you when you start a project.

Yes. Members are creators, organizers, and supporting members. If you think work like this should exist, you can join as a supporting member.

We encourage free collaboration among members and support regular networking events and project matching. Various collaboration opportunities — including concert planning, album production, educational programs, and exhibitions — are provided through the cooperative, and members can collaborate freely with each other.

You can check information on past and upcoming concerts, exhibitions, and events in the 'Projects' section of our website. Events requiring ticketing provide booking links on their detail pages, and special news is shared first via our newsletter.

If you want to work with us, email contact@ggac.kr. Companies and institutions can also take part as institutional members.

The collective is home to a range of indie musicians and bands, including doom metal duo Sabbaha, death and symphonic black metal band Meridies, hardcore/grindcore act Pepperman, punk/garage/blues artist Blackgoat, punk-folk singer-songwriter Yoo Dong-hyuk, pansori-based Heewoo, and hip-hop artist ANAZAO. See the full roster on the ‘Artists’ page (/en/artists).

From extreme metal — doom, drone, sludge, death metal, symphonic black metal, hardcore, grindcore — to punk, garage, blues, punk-folk, ambient, post-rock, hip-hop, and pansori crossover, the collective spans underground and experimental music beyond the mainstream.

Each artist’s detail page links out to Bandcamp, YouTube, Instagram, and more. For example, Sabbaha and Meridies have music on Bandcamp.

Shows are mostly held at live clubs in Suwon (DOT, Alleyway Taphouse, Long Player) and Seoul (Mudaeryuk, Dotolim). Upcoming and past shows are listed on the ‘Projects’ page (/en/projects), and the fastest announcements come via Instagram (@ggackr).

The collective self-produces series such as METAL SYNDICATE NETWORK (connecting the Seoul–Gyeonggi underground metal scene), Health Concert, the extreme/experimental party SATANIC RITUAL & PERVERSIONS, and the Suwon Sound Market.

It varies by show. Some are free, while others require advance booking or door tickets. Entry details and booking links are provided on each show’s detail page.

The general assembly decides. Every member has one vote regardless of what they put in. In a company, whoever buys the most shares holds that much of the decision; in a cooperative the vote is the same no matter the stake. Anyone who wants to be more involved can join the board — directors are elected at the general assembly from among the members.

Put the plan to the board as an agenda item. The cooperative takes on the venue, the contract, the bookings, the settlement, and the paperwork; the planning and the stage stay with whoever started it. Most of the series we run now began exactly that way.

Dues and member shares are the base, with performance income, sales, and contract work on top. We also apply for public arts funding. Those programmes are mostly open to legal entities and closed to individuals — there are many an artist cannot even apply to alone, and that is one of the reasons we incorporated. That said, a cooperative running on grants alone ends when the grants do, which is why we build performance income and sales alongside them. When we do win a grant, that budget puts members on stage and pays their fees.