Down to Earth

Erika Mei Chua Holum (b. 1995, Houston) is a contemporary art curator and art historian, currently pursuing her Ph.D. in Art History at Rice University, with a focus on global contemporary art history and museum studies. She is also based in Leitrim Co., Ireland as Curator of multidisciplinary arts space, the Dock.

She has extensive experience developing communication strategies for diverse, multicultural, and multilingual audiences, having worked at institutions such as the Blaffer Art Museum in Houston and the Terra Foundation for American Art in Chicago, and worked on international programs like the Lagos Biennial and Obscura Photography Festival.

Erika has spearheaded the curation and coordination of multi-site, global film projects, specializing in building transnational communities around ecological issues through moving images and public programming. Her practice continuously explores the intersection of art, ecology, and heritage. She actively advances these discourses through curating, writing, and public speaking, backed by deep experience in public programming design and audience engagement.

Zining Ke (b. 1998, Yunnan) holds dual master’s degrees: an M.A. (Advanced) in Art History and Curatorial Studies from the Australian National University, and an M.A. in International Politics from Fudan University.

Her research began in International Politics and gradually shifted toward knowledge production and marginal narratives in the Global South. Taking the Indian Dalit community as a point of departure, she persistently asks: whose voices are able to be heard. She approaches exhibitions as a form of decentralized knowledge production, enabling suppressed and overlooked experiences to become perceptible and enter the public sphere.

In her curatorial practice, she adopts a research-driven, site-responsive approach, focusing on how art engages with local life, ecological knowledge, and everyday labor. Through exhibitions, she explores the narrative potential of public space. She regards writing as an integral part of curatorial practice, continually intervening in contemporary art discourse through research and critical writing. Her work has been published in academic journals including Twenty-First Century, and her art criticism will appear in TAASA Review.

Hongxia Pu (b. 1994, Sichuan) is a landscape architect, registered spatial planner, and currently a postdoctoral researcher at Tongji University’s College of Architecture and Urban Planning, holding a Ph.D. from the University of Copenhagen.
Her research and practice revolve around water-soil narratives and ecological resilience, with a particular focus on how more-than-human actors (such as land, water bodies, and vegetation) participate in spatial restructuring and the shaping of cultural memory within processes of urbanization.
She possesses extensive experience in international exhibitions and filmmaking. She has participated in platforms such as the Venice Biennale and the Barcelona Landscape Biennale, and has curated multiple transnational multi-screen film exhibitions, exploring the potential of the moving image as a medium for affective resonance in landscape studies.
Her cross-regional exhibition and landscape design projects span China, Denmark, Italy, Canada, and elsewhere, integrating academic research, artistic practice, and public engagement to foster dialogue between ecology and humanity.

Ashwini Bhat, born in Puttur, Karnataka, India, holds a Master of Arts degree from Bangalore University. She currently resides in California. Bhat employs sculpture, installation, video, and text to develop a unique visual language, exploring the intersections between the body and nature, the self and the other. Her work draws inspiration from her home in the foothills of California’s Sonoma Mountains and her upbringing in a rural farming community in South India. Her practice focuses on the state of California’s ecology within the context of climate change and habitat transformation.

Bhat studied the classical Indian dance form Bharatanatyam for seventeen years, performing internationally as a professional dancer with the Padmini Chettur Dance Company before transitioning to a visual arts practice. Shifting from dance to sculpture, she perceives a profound connection between her own body and the sculptural forms she creates. In 2023, she became a certified naturalist at the Fairfield Osborn Preserve, a research site of Sonoma State University’s Center for Environmental Inquiry. Her work is represented by Shoshana Wayne Gallery in Los Angeles, USA, and Project 88 in Mumbai, India.

Awards:
USA Fellowship Howard Foundation Sculpture Fellowship (2013-14)
McKnight Artist Residency Fellowship

Exhibitions:
Her Nature, Project 88, Mumbai, India
Bay Area Now 9, Yerba Buena Center for the Arts, San Francisco, CA, USA
In Your Arms I Am Radiant, Shoshana Wayne Gallery, Los Angeles, CA, USA
Imprint, American Museum of Ceramic Art, Pomona, CA, USA
Ritual Encounters, collaborative installation, Mondavi Center for the Performing Arts, Davis, CA, USA
Children of the Earth, Newport Art Museum, Newport, RI, USA

Chen Ruicheng
Born in 1997 in Guangdong, China, Chen Ruicheng holds a Master’s degree in Experimental Art from the School of Intermedia Art at the Guangzhou Academy of Fine Arts. His practice spans installation, video, painting, and other artistic mediums. His current creative direction primarily revolves around magical realism in everyday life, social phenomena, and ecological issues. He focuses on constructing narrative spaces within his work, engaging in artistic practice through methods of fictional imagination.

Exhibition：
2025
Guangdong-Hong Kong-Macao Greater Bay Area Contemporary Art Exhibition, White Goose Tan Exhibition Area, Guangdong Museum of Art, Guangzhou
Light Boat Voyage — The First Jinji Lake Future Media Art Exhibition, Jinji Lake Art Museum, Suzhou
Where is Home? — 2025 Xu Qinsong Creation Award, Guangzhou Art Museum, Guangzhou
Buried in the Crowd — A Sample Observation of Urban Youth Art Groups, FUTURE LAB, Guangzhou
When Existence Becomes a Moment — 2025 Youth Art 100 Annual Exhibition, Starland Art Center, Beijing
The Land of Lingering Thoughts: “Where is Home?” Trilogy Series Exhibition, Deqing Contemporary Art Center, Hangzhou
2024
Shenzhen Light and Shadow Art Season, UpperHills, Shenzhen
Guangdong Nanhai Land Art Festival – Water Systems of Nanhai, Nanhai
Future Plan – Guangzhou Signals: The First Guangzhou Contemporary Artworks Exhibition, Guangzhou Art Museum, Guangzhou
Guangzhou Contemporary FUTURE LAB Exhibition: PASSION, FUTURE LAB, Guangzhou
East, West, South, North Wind: Another Southern Scene, Guangdong Contemporary Art Center, Guangzhou
Seeds of Perpetuity — Chronicle of All Things: Seeing All Things, Tianmuli Art Museum, Hangzhou
”I’ve Returned to the Hometown” — Active Agents in the Field, Spring Terrace Art and Culture Center, Guangzhou
Art Experiment in the Rising South Grand Exhibition, Guangdong Museum of Art White Goose Tan Greater Bay Area Art Center, Guangzhou
On the Road – Inquiring Theater, Chinese Young Artists Works Nomination Exhibition, Guan Shanyue Art Museum, Shenzhen
2023
The Fourth “Space 7 — Young Artists Academic Nomination Exhibition”, Guangdong Museum of Art, Guangzhou
Guangdong Nanhai Land Art Festival, Nanhai
Furong Impromptu, Mood Gallery, Nanxi River
The 9th Bi-City Biennale of Urbanism\Architecture (Shenzhen & Hong Kong), Shenzhen
The 5th Guanzhong Harvest Festival Art Project, Xi’an

Tine Galatius, an independent chef, food artist and experience designer, blends the rigorous skill of cooking with the realms of art, science and narrative. She uses food to convey ideas, intensify themes and elevate events, always respecting taste and cherishing the pure pleasure of sharing food with good company. Besides, her background in theater production brings a unique perspective to culinary creation. Just like a backstage operator, she not only performs on the stage but also interacts with the audience, creating shared value that transcends the stage.

Feng Zhixuan (b.1993, Wenzhou, Zhejiang province, China) lives and works in Shanghai and Beijing. A member of the Royal Society of Sculpture, he graduated from the Public Art Department of China Academy of Art in 2015 and the Sculpture Department of the Royal Academy of Arts in 2018. Feng Zhixuan is constantly inspired by multiple life and artistic experiences. His work causes cultural resonance through non-fictional material levels, using rare materials in daily life for producing historical action. The cultural elements in his works are revealed from highly personalized material forms, transformed into historical and improvisational narratives which create nomadic island civilizations that transcend a single period and location. His sculptural installations always encompass a tension that dynamically fuses elements of mythology, decoration, adventure and space imagination. Materials serve as the binder of culture and the result of confrontation in Feng’s work, each of which is full of traces of “resistance” to the contemporary urban environment and dehumanizing production. In virtue of a nomadic process of creation and exhibition, Feng seeks to establish autonomous structures of vertical experience, cultivating an ecosystem of Anthropocene imagination while scavenging from the ruins of thermal industry.

Feng’s recent exhibitions include: Solo exhibitions: “Trek”, MadeIn Gallery, Shanghai, 2024; “The One”, MadeIn Gallery, Shanghai, 2023; “Parallel Soul: The Ultimate Guide to the Natural History”, Gene Gallery, Shanghai, 2022; “Conjure a Compo Site”, Gene Gallery, Shanghai, 2019; “Northern Scenery”, Plate Space, Beijing, 2019.
Group Exhibitions include: “Thresholds, Flaneur and Whirlpools”, Wind H Art Center, Beijing, 2024-25; “Echoes Among Us”, Jing’an Sculpture Park, Shanghai, 2024; “Urban Fluidity”, Wuhan Biennial, Wuhan, 2024; “Dream Time”, UCCA, Beijing, 2024; “An Atlas of the Difficult World”, Macalline Art Center, Beijing, 2024; “Crossing the River by Feeling the Collectors”, David Chau’s Collection, iag, Shanghai, 2023; “The 2nd TAG-New Contemporary-Seaward”, Tag Art Museum, Qingdao, 2023; “Demonstration: The Art of Decision-making Techniques”, Fosun Foundation, Shanghai, 2023; “Unknown Pleasures”, Soulart, Beijing, 2023; “We Borrow Dreams from Others, Like Debt”, MadeIn Art Museum, Shanghai, 2022; “Spring Rhapsody”, KWM Art Center, Beijing, 2022; “Spicy Gluten and Youth Power: A Generational Insight”, Epoch Art Museum, Wenzhou, 2022; “Emotion and Universe”, HMAC, Chengdu, 2022; “USB”, MadeIn Gallery, Gallery Func, Qiao Space, in the Park, Shanghai, 2021; “Hereditary Territory”, Powerlong Museum, Shanghai, 2021; “A truck is parked in the grass near a tree in doubt”, Erlangen Confucius Institute Art Space, Nuremberg, Germany, 2020; “Pull Up the Stake”, Qi Mu Space, Beijing, 2019; “Global Living Room”, dePot, Shanghai, 2019; “Violence in Silence”, Spectrum Art Space, Shanghai, 2018; “Too Much Information”，Seventeen Gallery，London，Britain，2018；“The\Rehab\Lab”，Hackney Gallery，London，Britain，2018；“THE COMING COMMUNITY”，The Crypt Gallery，London，Britain，2017；etc. Feng’s work has been collected by various institutions, cc Foundation (Shanghai), Macalline Art Center (Beijing), How Art Museum (Shanghai), MadeIn Art Museum (Shanghai), etc.
Feng Zhixuan was nominated for the Porsche Young Chinese Artist Award in 2024.

Hu Yun

Born in Shanghai and graduated from China Academy of Art, Hu Yun is an artist currently based in Shanghai and Belgrade.
In his practice, Hu Yun revisits historical moments in order to provide alternative readings, a process that also informs the artist’s self-reflection on his native and personal ties.

His selected solo exhibitions include Image of Nature (Natural History Museum, London, 2010); Our Ancestors (Goethe Institut Shanghai, 2012); We have been here before (OCAT Xi’an, 2017), Another Diorama ( NUS Museum Singapore, 2019) and Mount Analogue (Rockbund Art Museum, Shanghai, 2024). His works have also been exhibited at the Power Station of Art (Shanghai), Centre Pompidou (Paris), The Cultural Centre of Belgrade, Para Site (Hong Kong), Parsons | The New School (New York) and Times Museum (Guangzhou). Hu Yun has participated in the 4th Guangzhou Triennial (2012), 11th Gwangju Biennale (2016), 6th Singapore Biennale (2019) and 10th Asia Pacific Triennial (APT10, Brisbane Australia, 2021). He is also the co-founder of art e-journal PDF (2012-2013).

Education
China Academy of Art, BA

Solo Exhibition
2024
Mount Analogue, Rockbund Art Museum, Shanghai, China
2023
distantia, AIKE, Shanghai, China
2021
Untitled (Scattered Chapters), Tsutaya Books, Shanghai, China
2019
Another Diorama, Archaeology Library, NUS Museum, Singapore
2017
We’ve been here before – Hu Yun’s Solo Project, OCAT Xi’an, China
2016
Narration Sickness, AIKE, Shanghai, China
2014
Not My Intention, AIKE-DELLARCO at Art Basel HK, Discoveries Sector, Hong Kong,
China
2013
Lift with Care, AIKE-DELLARCO, Shanghai, China
2012
Our Ancestors, Goethe Open Space, Goethe Institut, Shanghai, China
2011
Image of Nature, Natural History Museum, London, UK
2010
Up To Sky – Hu Yun’s Solo Exhibition, Magician Space, Beijing, China
Selected Group Exhibitions
2025
Summer Drift, Capsule, Shanghai, China
Fluid in Forms, Arario Gallery, Shanghai, China
2024
The Exhibition of Annual of Contemporary Art of China 2023, Shanghai Duolun
Museum of Modern Art, Shanghai, China
2023
Someone has been disarranging these roses, Beiqiu Museum of Contemporary Art,
Nanjing , China
Projection, Sifang Art Museum, Nanjing, China
The first Trans—Southeast Asia Triennial research exhibition series, Art Museum of
Guangzhou Academy of Fine Arts, Guangzhou, China
You as Me, Hold the Gaze, HOW Art Museum, Shanghai, China
2022
Nature of work, Warin Lab Contemporary, Bangkok, Thailand
The Archival Impulse: an exercise in counter-narrative and counter-memory, AIKE,
Shanghai, China
2021
The 10th Asia Pacific Triennial of Contemporary Art (APT10), Queensland Art Gallery,
Brisbane, Australia
Curtain, Para Site Art Space, Hong Kong, China
2020
Study of Things, Times Museum, Guangzhou, China
2019
Capital Plan, Sifang Art Museum, Nanjing, China
every step in the right direction, The 6th Singapore Biennale, Singapore
the atonal river, AIKE, Shanghai, China
botanical drift, Motto Berlin, Germany
Pas de printemps pour MARNIE, GDM Paris, France
2018
Imagining Memory: Between Anaesthesia and Amnesia, 1335 Mabini, Manila,
Philippines
Chengdu, China
Mapping the City, a vision of history and city, OCAT Xi’an and OCAT Anren, Xi’an and
Spiral Stairs, AIKE gallery, Shanghai, China
2017
Shanghai Galaxy II, YUZ museum, Shanghai, China
When the other meets the other other, Cultural Center of Belgrade, Serbia
Pan Yuliang- A Journey to Silence, Villa Vassilieff, Paris, France
2016
Scarcity& Supply- The 3rd Nanjing International Art Festival, Nanjing, China
Topography – Chapter II, Sifang Art Museum, Nanjing, China
Museum on/off, Centre Pompidou, Paris, France
The Eighth Climate – 11th Gwangju Biennale, Gwangju, South Korea
2015
Copyleft: Appropriation Art in China, Power Station of Art, Shanghai
Small is Beautiful, Jewelvary, Shanghai, China
2014
You Can only Think about Something if You Think of Something else, Times Museum,
Guangzhou, China
Stone, Wood and Paradise Syndrome, 1933 Contemporary, Shanghai, China
Shanghai Gesture, GDM (galerie de multiples), Paris, France
Just as money is the paper, the gallery is the room, Osage Gallery, Shanghai, China
2013
Degeneration, OCT Contemporary Art Terminal, Shanghai, China
Evolution: A Question, Yuan Space, Beijing, China
Cross-Strait Relations, Anna – Maria and Stephen Kellen Gallery, Parsons The New
School for Design, New York, USA
The Sun, V Arts Centre Space 1, Shanghai, China
Revel – Celebrating MoCA’s 8 Years in Shanghai, Museum of Contemporary Art,
Shanghai, China
Alternatives to Ritual’ part II, OCAT, Shenzhen, China
Come Rain or Come Shine, AIKE-DELLARCO, Shanghai, China
2012
Alternatives to Ritual, Goethe Open Space, Goethe Institut, Shanghai, China
The Unseen- The 4th Guangzhou Triennale, Guangzhou, China
Accidental Message — Art is not a system, not a world, The 7th Shenzhen Sculpture
Biennale, Shenzhen, China
Focus on Talents Project, Finalists Exhibition, Today Art Museum and
Martell Arts Fund, Today Art Museum, Beijing, China
Awards, Honors and Residencies
2023
WHW Akademija, Zagreb, Croatia
2018
Artists residency at 1335 Mabini, Manila, Philippines
2017
Artist residency at NTU- CCA Singapore, Singapore
2014-2015
Centre for Contemporary Art, Derry-Londonderry, Northern Ireland
2014
Artist residency at IASPIS, Stockholm, Sweden
2010－2011
Residency and Commission at Gasworks & Natural History Museum, London, UK
Lectures
2020
Guest Lecturer at CHINA ACADEMY OF ART
(INTERNATIONAL MASTER OF FINE ARTS PROGRAM)
Artist talk and online workshop, National University of Singapore, Singapore
2019
Artist talk at NUS Museum, Singapore
2017
Keynote at ‘The Archive: Savior, Inventor, Witness – 5th Garage International
Conference, GARAGE, Moscow, Russia
Artist talk, NTU-CCA Singapore, Singapore
2015
Performance Lecture, ‘Between Knowing and Unknowing: Research in and through
Art’, Times Museum, Guangzhou, China
Artist talk at CCA Derry-Londonderry
2014
Performance Lecture (Mapping Asia Talk Series), Asia Art Archive, Hong Kong, China
Artist Talk, IASPIS, Stockholm, Sweden
2012
Artist Talk, R.A.P, Kuala Lumpur, Malaysia
Artist Talk, Japan Foundation, Hanoi, Vietnam
Performance Lecture, Times Museum, Guangzhou, China
Collection
Natural History Museum, London, United Kingdom
Maramotti Collection, Italy
Kadist Art Foundation, San Francisco, France
Singapore Art Museum, Singapore
Queensland Art Gallery of Modern Art, Brisbane, Australia
White Rabbit collection, Sydney, Australia
Sifang Art Museum, Nanjing, China
HOW Art Museum, Shanghai, Wenzhou, China

Xie Rui (Yinchuan, Ningxia, 1996) graduated from the School of Image Art of Luxun Academy of Fine Arts in 2023 with a Master of Fine Arts degree, and now lives and works in Yinchuan and Chengdu.

Xie Rui’s art practice focuses on how to see, characterize, and understand the crises and dynamics of the times we live in. He tries to explore the relationship between human, non-human, material and media interactions in modern society from the standpoint of neo-materialism, and advocates a “methodological materialism” perspective to deal with the relationship between objects and things, and to understand these relationships as historical motives. Currently, his art projects are related to animal issues, climate crisis, and the geo-history of the Northwest Territories.

Recent important group exhibitions include:
TOP20 2025 Chinese Contemporary Photography Exhibition, Zhejiang Art Museum, Hangzhou, 2025; Ten/10: 10th Anniversary Special Exhibition of MOCA Yinchuan, Museum of Contemporary Art Yinchuan, Yinchuan, 2025; Places and Narration-The First Annual Exhibition of Chinese Contemporary Photography and Video Arts, Shanghai Duolun Museum of Modern Art, Shanghai, 2024; Blowing·Rolling·Rooting-Migration and Residence of Northwest Artists, Museum of Contemporary Art Yinchuan, Yinchuan, 2023; Back Water Bay: Here and Elsewhere, LAN·1302·Art, Lanzhou, 2024; Ingredients, Materials as Criticisms, Gravity Art Space, Shanghai, 2023; Seven Kinds of Poverty: Why Is There No McDonald’s In Ningxia, Western Art Museum, Yinchuan, 2021.

Cristina Rivera Garza (born October 1, 1964, in Matamoros, Tamaulipas) is a Mexican sociologist, historian, and writer. Rivera Garza studied sociology at the National Autonomous University of Mexico (UNAM). She later earned her Ph.D. in Latin American history from the University of Houston. Subsequently, she has taught at several universities in both the United States and Mexico. In 2005, she received the Anna Seghers Prize, and in 2009, she was awarded the Sor Juana Inés de la Cruz Prize for her novel La muerte me da—making her the only writer to have won this award twice. In 2019, she won the Shirley Jackson Award in the Novella category for The Taiga Syndrome. In 2020, she was granted a MacArthur Fellowship. Her 2023 memoir, Liliana’s Invincible Summer, chronicles the life of her younger sister and the femicide committed by her then-partner in 1990, when she was 20 years old. The book was a finalist for the National Book Award for Nonfiction and won the Pulitzer Prize for Memoir or Autobiography. In this deeply personal work, the author not only portrays her sister’s life but also explores the roots of intimate partner violence and societal responses to it. She has taught history and creative writing at various universities and institutions, including the National Autonomous University of Mexico (UNAM), the Monterrey Institute of Technology and Higher Education, and the University of California, San Diego. Currently, she teaches at the University of Houston.

Wang Yiyi
(born 1988 in Nanjing) received a BA from the School of the Art Institute of Chicago in 2011 and an MFA from the University of Pennsylvania in 2015. She currently lives and works in Shanghai. Her practice spans unconventionally cultivated plants and fungi, mixed-media sculptures centered on ceramics, field research, video, and photography.

Selected exhibitions and talks include: Wang Yiyi (solo exhibition), Aranya Art Center (2023); The Language of Mushrooms: The Interspecies Internet, Kunming Contemporary Gallery (2022); Unfamiliar Pavilions (Suzhou Garden Art Festival) (2021); talk “Collaborating with Nature,” Design Shanghai (2019); Project C2C – Melody of Virtual Love, Untitled Art Fair, Miami (2015); and an artist talk for an independent research project at the Museum of Modern Art, Philadelphia (2015).

Melting Wang (b. 1990, Inner Mongolia, lives and works in Beijing) is a contemporary artist working across video, installation and sculpture. His works are often presented as interrelated series.

Wang’s work explores the intersections of technological evolution, ecological disruption, and
cultural rupture, imagining new modes of reconnection between humans, nature, and technology. By integrating digital modeling, 3D printing, and natural materials, he constructs speculative artificial landscapes—experimental sites for ecological restoration. These immersive environments combine digital objects, technical objects, organic elements, and embodied perception, proposing hybrid systems that traverse nature, technology, and myth to envision multi-species coexistence and evolving futures.

His works have been featured on the cover of Flaunt Magazine’s art edition and exhibited at
institutions such as Mine Projects (Hong Kong), OTA Fine Arts Gallery (Shanghai), Qiao Space
(Shanghai), Madein Gallery (Shanghai), UCCA Center for Contemporary Art, X Museum (Beijing), and the West Bund Art & Design Fair (Shanghai). His public works are collected by institutions including X Museum (Beijing), SKP Beijing, and the Gubbio Library in Italy.

Eugenia Lim b. 1981. Lives and works inWurundjeri Country, Naarm/Melbourne Eugenia Lim is an artist, researcher and filmmaker of Chinese-Singaporean ancestry whose work with moving image, performance, sculpture, installation and social practice is informed by histories – and counter-narratives – of migration, capital, labour, materiality, ecology and the politics of space. Working between documentary, speculative, and poetic modes, Lim’s image-making and installations explore how the diasporic condition can engender ways of seeing in resistance to the colonial gaze. Stemming from an emplaced, relational and collaborative approach – from gig economy workers to sewage treatment plants – Lim’s art-making platforms places and communities that are otherwise unseen or undervalued in dominant culture.

Based on unceded lands in the Kulin Nation, Lim has exhibited, screened or performed at the Tate Modern (GBR), LOOP Barcelona (ESP), FIVA (AR), Recontemporary (IT), Kassel Dokfest (DE), Museum of Contemporary Art (AUS), ACCA (AUS), FACT Liverpool (GBR), EXiS (Seoul) and Kunsthal Charlottenborg (DK). She has been artist-in-residence with the Experimental Television Centre (USA), Bundanon Trust, 4A Beijing Studio (CN), Gertrude Contemporary, and she co-founded CHANNELS Festival. Collaboration, community and artist-led pedagogies fuel Lim’s work as board member at West Space, Composite Moving Image Agency, artist advisory committee member for NETS Victoria, founding membership of temporal art collective Tape Projects and as an educator at RMIT University. Lim is a 2022 Sidney Myer Creative Fellow, and the winner of Kunsthal Charlottenborg Spring’s 2022 Deep Forest Art Land Award. In 2024, Lim is an AIDC Leading Light, a Frame Documentary Lab participant, and one of 10 international directors selected for the prestigious Berlinale Talents Short Form Station 2024.

Eugenia Lim studio pays respect to the Wurundjeri Woi Wurrung and Boon Wurrung people of the Eastern Kulin Nation on whose unceded sovereign land we live and work. From this place, we contribute to the collective practice of global art and culture. Our work is indebted to the cultural practices and embodied knowledges that have nurtured and shaped the lands, skies and waterways of our home since the beginning of all things. This always was, and always will be, Aboriginal land.

Patty Chang
(Born 1972 in California, USA)

Patty Chang is a Los Angeles area based artist and educator who uses performance, video, installation, and narrative forms when considering identity, gender, transnationalism, colonial legacies, the environment, large-scale infrastructural projects, and impacted subjectivities. Learning Endings, her collaboration with Astrida and Aleksija Neimanis, is a multi-part interdisciplinary research project that surfaced amidst the overlapping contexts of climate crisis, threatened ocean ecosystems, and challenges to scientific expertise. Stray Dog Hydrophobia, her most recent project with David Kelley, explores deepsea mining and the entangled histories of extraction from the sea rooted in British colonialism in Jamaica. Kingston, Jamaica—where the British brought enslaved Africans to cultivate sugar, cocoa, and chocolate—is now home to the International Seabed Authority (ISA), the U.N. global body charged with regulating deep-sea mining. Stray Dog Hydrophobia is not only about deep-sea mining and marine life, but also about the layered violence of colonial histories and the extractive systems that endure. In addition to numerous awards and fellowships, her work has been exhibited at institutions such as the Museum of Modern Art, Guggenheim Museum, New Museum, M+ Museum in Hong Kong, and Moderna Museet in Stockholm, Sweden. She teaches at the University of Southern California in Los Angeles, CA.

Zheng Bo (Beijing, 1974) is an ecoqueer artist of ethnic Bai heritage, currently lives and works in Hong Kong. Through drawing, dance and film, they cultivate with the aesthetic, emotional, and political kinships between humans and plants. For them, art does not arise from human creativity, but more-than-human vibrancy.

Zheng Bo lives in a village on the south side of Lantau Island, Hong Kong. Guided by Daoist wisdom, they grow weedy gardens, living slogans, biophilia films, and ecosocialist gatherings. These diverse projects, alive and entangled, constitute a garden where they collaborate with both human and nonhuman thinkers and activists. Their ecological art practice contributes to an emergent planetary indigeneity.

In 2023, Zheng Bo worked on the Artist’s Garden commission at Jameel Arts Centre in Dubai and three botanical public works outside Rockbund Art Museum in Shanghai. In 2022, they presented a forest dance film titled Le Sacre du printemps at the 59th Venice Biennale. In 2021 they staged Wanwu Council at the Gropius Bau in Berlin and Life is hard. Why do we make it so easy? at Kadoorie Farm and Botanic Garden in Hong Kong. They participated in Sydney Biennale (2022), Liverpool Biennial (2021), Yokohama Triennale (2020), Manifesta (2018), Taipei Biennial (2018), and Shanghai Biennial (2016). Their works are in the collections of Power Station of Art in Shanghai, Hong Kong Museum of Art, Singapore Art Museum, Hammer Museum in Los Angeles, among others.

Zheng Bo studied with Douglas Crimp and received their PhD from the Graduate Program in Visual & Cultural Studies, University of Rochester. They taught at China Academy of Art from 2010 to 2013, and currently teaches at the School of Creative Media, City University of Hong Kong, where they lead the Wanwu Practice Group.

Jumaadi

Born 1973, Sidoarjo, East Java, Indonesia. Lives and works Sydney, New South Wales and Imogiri, Yogyakarta, Indonesia.

Jumaadi works fluidly across a range of mediums, including painting, drawing, performance and installation. His practice is informed by personal experience as well as the political and aesthetic lineages of his homeland, including wayang kulit, a tradition of shadow-puppet plays that originated in Java and Bali. With a poetic sensibility and subtle symbolism, Jumaadi weaves together a personal iconography of human and organic motifs to explore universal themes such as love, conflict and belonging.