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The 15th Shanghai Biennale Opens – Does the flower hear the bee?
Exhibition Theme: Does the flower hear the bee?
Like the flower that “hears” the bee’s wings, the 15th Shanghai Biennale aims to operate at the intersection of differing models of intelligence, both human and nonhuman. It is based on the belief that recent art provides us with a privileged space for such investigations, offering an embodied and interconnected sphere in which communities may form stronger bonds with “the more-than-human world.”
We live in a moment of great uncertainty and global emergency that has given rise to a widespread sense of disorientation. Our world is transforming at a pace that eludes our capacity for comprehension, leaving us feeling bewildered and uncertain. If a return to the past is impossible, art offers us potential pathways out of despair and malaise, helping us to find emergent forms-of-life and new modes of sensorial communication amid this instability.
Conceived in dialogue with the ideas of artists, curators, intellectuals, musicians, poets, scientists, and writers, Does the flower hear the bee? recognizes that much depends on our capacity to sense the world around us and attune ourselves to its diverse array of intelligences. Its hopeful vision rests on art’s ability to orient us towards an unknown future.
67 Participating Artists and Collectives from Around the World
This edition of the Biennale will feature over 250 works by 67 individual artists and collectives from around the world, including 16 from China. Over 30 works are commissioned or new.
Participating artists (listed in alphabetical order by last name):
Kim Adams, Abbas Akhavan, Allora & Calzadilla, Francis Alÿs, Ryoko Aoki, Carmen Argote, Shuvinai Ashoona, Alvaro Barrington, Lêna Bùi, Tania Candiani, Maxime Cavajani, Carolina Caycedo, Chen Ruofan, Cheng Xinhao, Sara Cwynar, Dan Er, Rohini Devasher, Miguel Fernández de Castro, Cristina Flores Pescorán, Theaster Gates, Abraham González Pacheco, Brett Graham, Hao Liang, d harding, Ho Tzu Nyen, Ngahina Hohaia, Hu Xiaoyuan, Huang Yongping, Ulala Imai, Aki Inomata, Brian Jungen, Lotus L. Kang, Amar Kanwar, Christine Sun Kim, Ragnar Kjartansson, Jaffa Lam, Lina Lapelytė, Liu Shuai, Sharon Lockhart, Liz Magor, Gordon Matta-Clark, Ari Benjamin Meyers, Audie Murray, Kosen Ohtsubo, Christian Kōun Alborz Oldham, Lisa Oppenheim, Plant South Salesroom, Qiu Shihua, R. H. Quaytman, Walid Raad, Shao Chun, Shao Fan, Heji Shin, Tan Jing, Shannon Te Ao, Luke Willis Thompson, Rirkrit Tiravanija, Gözde Mimiko Türkkan, Hajra Waheed, Evelyn Taocheng Wang, Xu Tiantian, Ami Yamasaki, Haegue Yang, Masaomi Yasunaga, Cansu Yıldıran, Gozo Yoshimasu, Zhou Tao
* Maxime Cavajani and Theaster Gates participate in the Biennale’s City Project at the Jia Yuan Hai Art Museum. The works of Rirkrit Tiravanija, Chen Ruofan, and Zhou Tao are on display at both the Power Station of Art and the Biennale’s City Project at the Jia Yuan Hai Art Museum. Liu Shuai participates in the Biennale’s City Project at the Jia Yuan Hai Art Museum and VILLA tbh, Shanghai.
Exhibition Design: Walking a Garden-Like Landscape
The 15th Shanghai Biennale centers on interactions between different life forms. The exhibition unfolds as an open landscape—a space to wander through rather than move along. Artworks seed throughout the Power Station of Art—anchored in the grand hall, threaded through circulation paths, tucked into enclosed rooms and gallery spaces. It is not a path to follow but a terrain to inhabit—where artworks, architecture, and visitors co-exist in shifting relations.
The scenography treats the building itself as landscape. Raw concrete blocks—the same industrial vocabulary as the architecture—form a man-made terrain throughout the space. Like rockwork in a garden that shapes how you see the scenery, these blocks offer different vantage points for viewing the artworks. They are utilitarian and designed for a second life: after the exhibition, they can be upcycled rather than discarded.
The design takes its cue from gardens—not as decoration, but as spatial principle. Like a Chinese scholar garden or Japanese stroll garden, the exhibition reveals itself progressively. As you move through, sightlines shift and new compositions emerge. Enclosed rooms offer moments of immersion, a different quality of attention. There is no prescribed route, only invitation. The exhibition offers moments to wander, to stop, not to rush but to rest and reflect among others. Visitors become part of the ecology—another life form moving through and shaping the space. The exhibition design team, all(zone) / Rachaporn Choochuey trusts visitors to find their own rhythm—generous enough to wander in, structured enough to discover. These pauses aren’t interruptions but essential, acknowledging that attention deepens with time, that reflection happens in stillness as much as in movement.
Exhibition Publications
The accompanying catalogue and the reader of this edition will be published concurrently with the exhibition. The 400-page catalogue prioritizes the participating artists’ voices, features essays by the three curators and includes extensive documentation of exhibited works, while occasional interludes punctuate the book as propositions for future sounds, poems, or languages.
The reader brings together artists, scholars, and writers, who explore emergent modes of receptivity, from listening as a sustained practice and forms of attending to the human and the nonhuman, to consciousness of materiality and ephemerality. Together, the texts open a range of affective, communicative, and embodied registers.
City Projects
The City Projects of the 15th Shanghai Biennale aim to have a generative momentum. Beginning at PSA, the projects progressively summon, relocate, displace, and spread into multiple landscapes—from garden fences in urban neighborhoods (e.g., VILLA tbh) to open fields on the outskirts (Jia Yuan Hai Art Museum), from carefully cultivated bonsai in botanical gardens (Shanghai Botanical Garden) to native grasses growing freely on balcony gardens (klee klee)—and over the course of the exhibition, will reach further corners of Shanghai…
These back-and-forth passages resemble successive and affective “bee paths.” As the public experiences art in different places, every pause, touch, and conversation helps catalyze the mingling of art and everyday rhythms — eventually, through perception, movement, and encounter, one quietly attunes to those “moments of abundance.”
City Projects Exhibition Information for the 15th Shanghai Biennale
Does the flower hear the bee? (Extended Version)
Artists: Maxime Cavajani, Chen Ruofan, Theaster Gates, Liu Shuai, Rirkrit Tiravanija, Zhou Tao
Time: November 8, 2025 – March 31, 2026 (Tuesday–Sunday, 09:30–17:30; closed on Monday)
Venue: Jia Yuan Hai Art Museum, No. 39 Dazhi Road, Jiading District, Shanghai
The flight map of these affective journeys along both banks of the Huangpu River converges at the Jia Yuan Hai Art Museum in Jiading, Shanghai. Designed by Japanese architect Tadao Ando with a philosophy of dialogue between architecture, nature, and the human, the museum becomes a site where works by Maxime Cavajani, Chen Ruofan, Theaster Gates, Liu Shuai, Rirkrit Tiravanija, and Zhou Tao form another kind of resonance with land, architecture, light, and sound.
Slide, Then Soar!
Artist: Liu Shuai
Time: November 9, 2025 – January 4, 2026 (Monday–Sunday, 10:00–18:00)
Venue: VILLA tbh, No. 15 Taojiang Road, Xuhui District, Shanghai
At VILLA tbh on 15 Taojiang Road, Xuhui, artist Liu Shuai presents Slide, Then Soar!, a commission for the 15th Shanghai Biennale. In a small, hovering form, it poetically engages the garden-world’s everyday nature—kites collaged from plants, and bamboo reeds punctured by bees and are repurposed as an instrument. Through a human–nature collaboration, the work responds to the Biennale’s query in Does the flower hear the bee?
Ami Yamasaki — Special Performance
Time: November 8, 15:00
Venue: Penjing Garden, Shanghai Botanical Garden
Participating artist Ami Yamasaki stages a site-specific performance in the Penjing Garden of the Shanghai Botanical Garden, continuing her exploration of acoustic space and reciprocal listening. Treating the human voice as a method of locating oneself in the world, and the body as a vessel that resonates with space, the artist situates herself through singing, listening, and echo, gradually dissolving the subject–site boundary and inviting audiences to co-establish new sensitivities.
Ami Yamasaki — Special Performance & Exhibition Opening (mid-December)
Venue: klee klee & friends, 2F, Building 3, Columbia Circle, No. 1626 West Yan’an Road, Shanghai
Performance Time: November 10, 10:00; Exhibition Dates: Mid-December
At klee klee’s “Wilderness Balcony,” Ami Yamasaki’s special performance serves as a prelude to the winter exhibition, telling the journey of a seed: eaten and carried afar by birds, eventually returning to the soil to quietly take root and grow into a sapling amid the grasses. This is not only a cycle of life; it also offers a micro testimony of how the “grass store,” the birds, and humans share the same sky, soil, forests, and fields—like the quiet yet abundant atmosphere at the instant when the flower meets the bee.
About the Shanghai Biennale
Launched in 1996, the Shanghai Biennale is not only the first international biennial of contemporary art in the Chinese mainland but also one of the most influential art events in Asia. In 2012, the Power Station of Art became the organizer and permanent venue of the Shanghai Biennale. From Open Space in 1996, to Inheritance and Exploration in 1998, Spirit of Shanghai in 2000, Urban Creation in 2002, Techniques of the Visible in 2004, Hyper Design in 2006, Translocalmotion in 2008, Rehearsal in 2010, Reactivation in 2012, Social Factory in 2014, Why Not Ask Again in 2016, Proregress in 2018, Bodies of Water in 2020, and Cosmos Cinema in 2023, the Biennale has always maintained Shanghai as its primary locus, upholding the mission of supporting academic and cultural innovation, while continuously tracking social evolution and trends in knowledge production in a global context with an open view. Taking place in Shanghai every two years, the Biennale has also become a large-scale platform for the international presence and exchange of contemporary art.
About the Shanghai Biennale City Projects
As a unique urban event and cultural landmark, the Shanghai Biennale has long been committed to enabling active dialogues between contemporary art and the booming city of Shanghai. First launched in 2012, the Biennale’s City Projects interact with public spaces such as exhibition pavilions, cinemas, and cultural centers, mobilizing local actors to explore the regional context through shows, screenings, field surveys, and workshops. This program aims to extend the Biennale beyond the museum and establish a closer relationship with the city’s residents and its cultural ecology.
The 15th Shanghai Biennale: Does the flower hear the bee?
Chief Curator: Kitty Scott
Co-curators: Daisy Desrosiers, Xue Tan
Curators: Long Yitang, Zhang Yingying
Exhibition Design: all(zone) / Rachaporn Choochuey
Graphic Designer: Sara De Bondt
Editor: Sarah Demeuse
Venue: Power Station of Art
City Project Partner: JIA YUAN HAI, tbh, Shanghai Botanical Garden, klee klee
Special Partner: Aesop
Official Travel Partner: DENZA
Official Hotel Partner: The Langham, Shanghai, Xintiandi and Brilliant by Langham
Acknowledgements: FLOS
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About the Power Station of Art (PSA)
Established on Oct 1, 2012, the Power Station of Art (PSA) is the first state-run contemporary art museum in the Chinese mainland. It is also home to the Shanghai Biennale. Formerly the Nanshi Power Plant, the now renovated PSA was once the Pavilion of Future during the 2010 Shanghai World Expo. Having witnessed Shanghai’s transformation from the industrial age to the digital era, the museum’s raw architecture has provided rich inspiration for artists. As a central hub for Shanghai’s booming urban culture, PSA is committed to innovation and progress as keys to its long-term vitality. The museum aims to provide an interface for the public to come into contact with and appreciate contemporary art, to break down the barrier between life and art, and to promote cooperation and knowledge production across diverse fields of arts and culture.
Investment by leading industry institute supports Tracr’s evolution to becoming an independent, industry-wide platform for natural diamond provenance
LAS VEGAS, US – Media OutReach Newswire – 9 June 2026 – De Beers Group and GIA (Gemological Institute of America) today announced the signing of a definitive agreement for GIA to acquire a 30 per cent shareholding in Tracr, the De Beers Group-backed company behind the development of the pioneering diamond provenance blockchain-driven platform.
The agreement marks a significant milestone in Tracr’s evolution towards independence and reflects GIA’s confidence in the platform’s role as an industry-wide infrastructure to advance natural diamond provenance and traceability at scale.
GIA’s investment – which builds on a 2023 initiative to include diamond provenance information registered on Tracr’s platform on eligible GIA diamond grading reports – represents a significant step in this transition, reinforcing Tracr’s long-term credibility across the diamond value chain.
Al Cook, CEO of De Beers Group, said: “Consumers deserve to know where their diamonds come from and they should feel more confident in their understanding of each diamond’s source. At De Beers we have been providing provenance data on diamonds through Tracr for several years and we believe that delivering provenance should become an industry standard. Following our promise to open Tracr up to broad ownership, we are proud to be partnering with GIA as Tracr evolves into an independent, industry-wide platform. We will work alongside GIA to advance provenance transparency for the entire diamond sector.”
Pritesh Patel, President and CEO of GIA, said: “At GIA, our mission has always been rooted in trust, integrity, and consumer confidence. Our collaboration with Tracr over the past several years reinforced our belief that combining source-based blockchain provenance with GIA’s independent grading and identification expertise can help unlock a new level of transparency for the diamond industry. As Tracr continues to scale globally, we see a tremendous opportunity to deliver meaningful, verifiable provenance information from the source to the consumer. We are proud to deepen our commitment through this investment and help shape the next evolution of transparency, traceability, and trust across our industry.”
Jillian Wolk, CEO of Tracr, said: “The start of Tracr’s evolution into an independent platform, as a result of GIA’s investment, creates a strong foundation for the future. I am excited to continue scaling the platform and bringing more producers on board, which will support Tracr in enabling the individual journey of every registered diamond to come to life. Each stone carries its own narrative, defined by its source and the craftsmanship that has shaped it, and as Tracr continues to grow we have a fantastic opportunity to help reveal those unique stories.”
Today, more than five million rough diamonds have been registered on Tracr at source, representing around two-thirds of De Beers’rough diamond production by value. Since January 2025, single country of origin for De Beers diamonds has been available on Tracr, with all newly sourced De Beers rough diamonds of one carat and above being registered on the platform.
Hashtag: #NaturalDiamonds #Diamonds #DeBeersGroup #GIA #Tracr
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About De Beers Group
Established in 1888, De Beers Group is the world’s leading diamond company with expertise in the exploration, mining, marketing and retailing of diamonds. Together with its joint venture partners, De Beers Group employs more than 20,000 people across the diamond pipeline and is the world’s largest diamond producer by value, with diamond mining operations in Botswana, Canada, Namibia and South Africa. Innovation sits at the heart of De Beers Group’s strategy as it develops a portfolio of offers that span the diamond value chain, including its jewellery houses, De Beers Jewellers and Forevermark, and other pioneering solutions such as diamond sourcing and traceability initiatives Tracr and GemFair. De Beers Group also provides leading services and technology to the diamond industry in the form of education and laboratory services via De Beers Institute of Diamonds and a wide range of diamond sorting, detection and classification technology systems via De Beers Group Ignite. De Beers Group is committed to ‘Building Forever,’ a holistic and integrated approach for creating a better future – where safety, human rights and ethical integrity continue to be paramount; where communities thrive and the environment is protected; and where there are equal opportunities for all. De Beers Group is a member of the Anglo-American plc group. For further information, visit www.debeersgroup.com.
About GIA
An independent nonprofit organization, GIA (Gemological Institute of America), established in 1931, is recognized as the world’s foremost authority in gemology. GIA invented the famous 4Cs of Color, Clarity, Cut and Carat Weight and, in 1953, created the International Diamond Grading System™ which is recognized around the world as the standard for diamond quality.
Through research, education, gemological laboratory services and instrument development, the Institute is dedicated to ensuring the public trust in gems and jewelry by upholding the highest standards of integrity, academics, science and professionalism.
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Smart Design Global 2026 Awards Presentation Ceremony Proudly Unveils 52 Original Award-Winning Designs International Tour Highlights Hong Kong’s Creative Design Power
Set to Appear at Bangkok Mega Show and Paris Maison&Objet
HONG KONG SAR –
About The Hong Kong Exporters’ Association
Founded in 1955, The Hong Kong Exporters’ Association (The HKEA) is a non-profit making trade association registered under the Hong Kong Companies Ordinance as a company limited by guarantee. The HKEA is committed to creating new business opportunities and enhancing market value for Hong Kong exporters, aiming to position Hong Kong as a premier trading hub. The HKEA focuses on serving the industry and taking export trade as its core value, helping members expand their business by closely liaising with the government, initiating different projects, and organising seminars, business gatherings, business delegation trips and exhibitions. The HKEA also disseminate the latest local and international trade information and provides online product display and search services for additional publicity, to further promote Hong Kong’s export trade and enhance market competitiveness.
The HKEA website:
About Cultural and Creative Industries Development Agency
The Cultural and Creative Industries Development Agency (CCIDA), formerly known as Create Hong Kong (CreateHK) since 2009, was established in June 2024. CCIDA is a dedicated office under the Culture, Sports and Tourism Bureau of the Government of the Hong Kong Special Administrative Region (HKSAR Government) to provide one-stop services and support to the cultural and creative sectors with a mission to foster a conducive environment in Hong Kong to facilitate development of the arts, culture and creative sectors as industries. CCIDA’s strategic foci are nurturing talent and facilitating start-ups, exploring markets, promoting cross-sectoral and multi-disciplinary collaboration, promoting industrialisation of the arts, culture and creative sectors under the industry-oriented principle, and fostering a creative atmosphere in the community, thereby reinforcing Hong Kong as Asia’s creative capital and our positioning as the East-meets-West centre for international cultural exchange.
CCIDA’s website: www.ccidahk.gov.hk
Disclaimer: The Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organisers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Culture, Sports and Tourism Bureau, the Cultural and Creative Industries Development Agency, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.
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Disney Garden of Wonder blooms to life again at Singapore’s Gardens by the Bay with all-new character topiaries
SINGAPORE – Media OutReach Newswire – 8 June 2026 – Disney magic blooms anew at Singapore’s premier horticultural destination Gardens by the Bay as the second edition of Disney Garden of Wonder, opens today. Featuring 23 vibrant topiaries inspired by beloved Disney and Pixar characters, the enchanting showcase transforms Floral Fantasy into a world of floral artistry and imagination through 14 March 2027.
Organised in collaboration with Disney and supported by the Singapore Tourism Board, Disney Garden of Wonder is inspired by Disney and Pixar stories that have charmed generations of fans around the world, inviting people of all ages to re-discover their favourite stories of courage, kindness, friendship and love through the beauty of plants. Following the success of its debut at Gardens by the Bay in 2024, the enthralling floral showcase returns in an even more special second edition.
Visitors can look forward to five themed areas:
- Frozen, in which topiary versions of Anna, Elsa and Olaf preside over an enchanting snowy landscape, brought to life through themed lighting that imagines a frost-kissed world of wonder. Inspired by Elsa’s Ice Palace, visitors can step on a floor where magical snowflakes dance and respond to movement.
- Disney princesses, where Rapunzel appears alongside her best friend Pascal the chameleon; Belle is with the Beast and their enchanted companions; and Jasmine is accompanied by her loyal tiger Rajah.
- Hundred Acre Wood, where Winnie the Pooh, Eeyore, Piglet and Tigger gather in a cheerful party scene. Tigger bounces up and down while Piglet twirls, and visitors can picture themselves joining everyone at the table!
- Toy Story 5, where Woody, Jessie and Buzz Lightyear appear as topiaries in a playful setting inspired by Bonnie’s Room, alongside displays of new characters Lilypad and Smarty Pants.
- Go Local, a Singaporean-themed zone where Disney characters are reimagined in familiar local settings. Chip ‘n Dale perch atop a giant ice cream sandwich; Minnie Mouse and Daisy Duck share the spicy rice noodle dish laksa; and Mickey Mouse makes the traditional beverage teh tarik with Donald Duck.
Outside Floral Fantasy, a 4m-tall Sorcerer’s Apprentice Mickey marks the entrance and welcomes visitors to Gardens by the Bay.
The hand-assembled topiaries are crafted from more than 40 species of preserved and dried floral materials, which took more than 16,000 man hours.
Each material was selected for its colour, texture and form, helping to reflect each character’s features. Plenty of flowers are used for the Disney princesses for example, while Rapunzel’s hair is crafted from Stipa, a perennial grass that has fluffy or oat-like flowerheads.
The surrounding landscapes also use plant palettes that reflect the mood of each zone — sunflowers and marigolds reflect the honey-toned meadow setting of Winnie the Pooh, while lilies and roses bring out the romantic and jewel-toned settings of Disney Princess stories. Hydrangeas and dusty miller evoke the icy blues, whites and silvers of Frozen.
Throughout the duration of Garden of Wonder, visitors can enjoy select weekend Meet and Greet sessions with Mickey Mouse and Minnie Mouse in outfits inspired by Singapore’s national flower, the Vanda Miss Joaquim. Donald Duck and Daisy Duck will also join the experience on select weekends, dressed for a sunny getaway on our tropical island. Meet and Greet dates are available at www.gardensbythebay.com.sg/disneygardenofwonder.
Visitors can round off their experience with shopping at the gift shop, which carries items launching exclusively at Disney Garden of Wonder.
Hashtag: #DisneyGardenofWonder #FloralFantasy #GardensbytheBay
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Gardens by the Bay
An integral part of Singapore’s “City in Nature” vision, Gardens by the Bay is a national garden and premier horticultural attraction that showcases the best of garden and floral artistry for all to enjoy. Spanning 101 hectares in the heart of Singapore’s downtown Marina Bay, it comprises three waterfront gardens – Bay South, Bay East, and Bay Central. Bay South, the largest at 54 hectares, officially opened on 29 June 2012.
Guided by the vision to be a world of gardens for all to own, enjoy and cherish, the Gardens’ extensive plant collection, ever-changing floral displays, and myriad of engaging programmes have captured the imagination of many, while its Gift of Gardens community initiative, with Mr Tharman Shanmugaratnam, President of the Republic of Singapore as Patron, reaches out to people from all walks of life.
Since opening, Gardens by the Bay has welcomed more than 115 million visitors and garnered numerous international accolades including the third Top Attraction in the World in Tripadvisor Travelers’ Choice Awards Best of the Best 2026, Outstanding Achievement in Sustainability at the Singapore Tourism Awards 2024, Best Theme Attraction at TTG Travel Awards 2022 and 2023, and Best Attraction Experience at the Singapore Tourism Awards 2019. The Gardens continues to refresh and refine its offerings, to be a place that everyone can enjoy – a garden where wonder blooms.
For more information, visit www.gardensbythebay.com.sg.
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