The China Pavilion exhibition Dream Stream of the 61st International Art Exhibition – La Biennale di Venezia is on view at the Arsenale in Venice, Italy, from 8 May to 22 November 2026 (local time). Echoing the Biennale's overarching theme, "In Minor Keys," the exhibition adopts Dream Stream as its thematic framework. Centered on the creative transformation and innovative development of China's rich traditional cultural heritage, the exhibition explores art-science integration as its primary mode of expression. Through diverse artistic approaches, it responds to the theme of Dream Stream and creates a cross-cultural artistic landscape.
The Art Museum of China Academy of Art will launch the special interview series the China Pavilion of La Biennale di Venezia. Structured around the curatorial vision, the series is divided into some sections: Forging Ancient and Contemporary, Connecting China and the World, Intertextual Dialogue, and Moments of Highlight. Beyond these thematic sections, the series also focus on the latest creative practices of emerging artists.The series seeks to explore the artists' creative processes, personal reflections, and artistic inquiries underlying their participation in the Biennale. It will progressively present the exhibition's exploration of artistic innovation, as well as the enduring contemporary vitality of Chinese cultural traditions.
Connecting China and the World
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E-seed
Guanyun Wang
"We gaze up at the stars,and lean in to observe a single seed."
Interview
Q1：Could you introduce your work E-Seed?
Guanyun Wang：
In nature, there is a plant called Erodium (stork's bill), whose seeds can sense changes in environmental humidity,and spontaneously curl and twist. This twisting motion gradually drives the seed head into the soil, significantly increasing the likelihood of successful burrowing and germination.We began to explore whether it would be possible to recreate this remarkable mechanism through artificial materials, structures, and design approaches. This question initiated a long-term research journey for our team. Ultimately, we developed a self-drilling seed that functions both as an engineered object and as an artwork.It can be deployed in scenarios like post-disaster forest restoration and remote soil monitoring—with a core philosophy of seamlessly integrating human technology with the natural world.
The design process of the E-seed unfolded in three main stages. The first stage focused on uncovering the underlying principles behind this phenomenon. We conducted extensive literature research and carried out a series of experiments to validate our hypotheses. The second stage focused on manufacturing, requiring us to overcome complex problems related to materials and structure design. In the third stage, we entered the design thinking, leveraging our creative imagination to further enhance the structure's efficiency and performance.
Q2：E-Seed is both a cover feature in Nature and an artwork exhibited at La Biennale di Venezia. What significance do you believe this dual release—by a leading scientific journal and a world-renowned art exhibition—has for communicating the integration of art and science?
Guanyun Wang：
I do not view this work as a simple project that has "crossed over" from science into art. Instead, I see it as the same work being interpreted and understood through two different systems of knowledge. Nature represents the scientific system, where the focus lies on whether the scientific mechanisms behind the work are valid, whether the experiments are reliable, and whether the results are reproducible, and whether it can provide new solutions to ecological and engineering challenges. La Biennale di Venezia, on the other hand, examines whether the work can transform the way people perceive nature, technology, and future, and whether it can inspire cultural, emotional, and intellectual dialogue.Thus, science provides the verifiable foundation for the work, while art allows it to enter a broader public culture and social imagination.
What is particularly meaningful about this work is that we did not attempt to control nature through more powerful technologies. Instead, by observing natural laws, we allowed the materials, structure, and environment to work in harmony with nature. This may reflect a distinctive value that China’s integration of art and science can offer to global conversations: we are not just showcasing a new technology, but proposing an understanding of technology and our relationship with the natural world.
Q3：Could you elaborate on the aesthetic value and artistic expression embodied in the drill-like structure of E-Seed?
Guanyun Wang：
The core aesthetic quality of the work lies in the harmony between function and form, as well as the coexistence of static structure and dynamic process. Every curve in the structure is not created solely for visual appeal; rather, each serves a specific functional purpose. The spring-like body converts energy through moisture absorption; the head carries real seeds, enabling them to take root and germinate; and the tail helps anchor the entire structure. From an functional perspective, every curve, line, and angle within the structure holds its own significance. It can best be understood as a "beauty derived from logic and necessity."
Another important dimension is the beauty of time. The work is not intended to be understood as a static object; rather, it must be experienced within a longer period of time. Through continuous interaction with the natural environment, the seed completes its life process,and its function is realized through movement.As it rotates, it senses its surroundings, responds to environmental changes, and interacts with the soil. Ultimately, it creates artistic expression shaped by time, where technical beauty, natural beauty, and the aesthetic dimension of time come together.
Q4：At La Biennale di Venezia, E-Seed was presented in dialogue with 2027 Shen Guo created by Professor Mou Sen's team. How do you understand the relationship between the imagery of seeds spreading across the vast landscape and 2027 Shen Guo?
I believe the most important connection between the 2027 Shen Guo and the E-seed lies in how they establish two completely different yet mutually resonant scales of observation. 2027 Shen Guo expands our perspective toward the universe, history, and systems of knowledge, encouraging us to view Earth and human civilization from a broader cosmic perspective. E-seed, on the other hand, brings our attention closer to the ground—focusing on a single seed, a small patch of soil, and subtle movement within materials. When we picture countless seeds spreading across a vast landscape, it does not present a grand spectacle of conquering nature, but rather a distributed and low-impact ecological action.
The power of an individual seed may be tiny,but over an extended period of time,countless seeds may collectively form a new network of life.Both works respond to the spirit of “guan wu jiu li"- observing nature to uncover its underlying laws—a philosophy embodied by Shen Kuo. We gaze up at the stars,and lean in to observe a single seed. We must build grand systems of knowledge while also respecting the most subtle and specific mechanisms operating within nature. 2027 Shen Guo allows us to view Earth from the perspective of the cosmos, while E-seed invites us to return to the scale of a single patch of soil.
Q5：What impacts has participating in 61st La Biennale di Venezia had on your life and artistic creation?
Guanyun Wang：
Participating in the 61st La Biennale di Venezia has been an incredibly meaningful experience for me. When conducting research in the laboratory, we focus more on achieving specific functions and optimizing performance. This exhibition experience allowed me to revisit our scientific research from a different perspective and inspired deeper reflection. It encouraged me to think further about how to connect humans, design, and nature—not by intervening in natural processes, but by collaborating with nature to collectively sustain the Earth's ecosystems.
