Curatorial Practice
My curatorial practice began with connecting international young artists and design students, then gradually expanded toward public conversations around robotics, artificial intelligence, and technology art. OMNI Art Expo and the 2025 International Robotics and Art Design Biennale represent two stages of this path: the first focused on building a platform for young creators across schools, while the second explored how curation can respond to technological change and bring art, design, industry, and the public into dialogue around future issues.
International Robotics and Art Design Biennale
As an accompanying art and design exhibition for the 2025 World Robot Conference, the International Robotics and Art Design Biennale took "Future Symbionts: Robots, Art, and Humanity" as its theme, exploring how robotics can gradually shift from industrial production tools into media for culture, emotion, and artistic expression.
I participated in the full process from curatorial positioning to exhibition delivery, including curatorial theme definition, exhibition structure planning, international open calls, work review, spatial content organization, visitor flow design, and coordination with partner institutions. The project invited submissions from leading domestic art schools, overseas art and design colleges, young artists, robot designers, and interdisciplinary research teams. It received more than 200 works globally and ultimately selected more than 40 for exhibition.
The exhibition covered robot product design, AI art, intelligent interactive installations, bionic machinery, 3D printing, future home design, and conceptual design. By combining an indoor technology art exhibition with outdoor scenario-based experiences, it translated complex robotics technology into a cultural experience the public could view, understand, and participate in.
This project shifted me from being the designer of a single work to the builder of an interdisciplinary content system. I not only had to judge the value of each work, but also define the relationships among works, coordinate artists, schools, industry institutions, space, and public experience, and ultimately build a platform for exchange among robotics, art, design, and society.
OMNI Art Expo Global Art School Exhibition
In 2021, during the pandemic, many international students in the United States were unable to complete offline graduation design exhibitions. Together with alumni in China, I initiated and organized OMNI Art Expo, connecting student associations from 10 schools across the United States and creating a public global art school exhibition.
The project collected more than 1,000 submissions and ultimately selected more than 200 works. It was not only an exhibition organization effort, but also an attempt to give overseas art and design students an offline graduation showcase during a special period.
Together with alumni, we pushed the project from concept to delivery and eventually chose Xintai Warehouse, a century-old building in Shanghai, as the exhibition venue. The opening event received support and visits from the Shanghai municipal government, giving this student- and alumni-initiated exhibition broader public attention.
OMNI Art Expo was the first time I fully participated in and pushed a large cross-school art project from concept formation to public exhibition. It required not only curatorial judgment and content organization, but also coordination among schools, creators, venues, construction, communication, and public resources.
