Chinese multimedia artist Qiu Zhijie's “total art” exhibition, The Ataraxic of Zhuang Zi , combines cultural fieldwork, historical documentation, sociological investigation, and cross-media artworks to intervene into the disturbing phenomenon that has turned the Nanjing Yangzi River Bridge into China's most popular suicide location.

The experimental art scene in post-Tiananmen China has featured an array of animal bodies, both living and dead, as well as interspecies encounters ranging from the playful to the sadistic, from the gently collaborative to the violently conflictual, which interrogate and destabilize contemporary constructions of the nature-culture binary.

In the past two decades, China has witnessed a period of vibrant artistic experimentation, marking the nation's rapid transition from the dominance of communist ideology to that of the market economy. Zhu Yu's xingwei yishu (behavior art) and his controversial art actions reflect and critique this transition, and his performances become part of the “violent capital” of the new aesthetic economy.

This California-based company, founded in 1989, stages high-risk site-specific performances. Somewhere between sci-fi movies and extreme body art, the work of osseus labyrint takes place on the edges between art, ecology, and biology.