Her research areas include contemporary art curation, network society and visual culture research. Her thesis "Modernity in 'Killing Matt' — the Social Exhibition of Urban-Rural Space Production" was presented at the World Congress of Art History. Since 2013, she has been involved in the curation of the Asian Social Movement Image Database “Multitude: Till We Have Faces” until now, and has been selected for the PSA Emerging Curators Project with her work "Articulators Summit". Her recent curation projects include: Out of Service (2018); Inter-World-View (2019); The First Zhijiang International Youth Art Festival (2019); Inter-World-View II (2020); Playshop International Collaborative Curriculum” (2019–2021); The First Zhejiang Young Scientists Festival (2022). She is currently teaching at the Research Institute of Social and Strategy, SDI, CAA.

 She now lives and works in Hangzhou. Her artistic creations start from daily life, and she is good at exploring the social texture of materials and objects to express certain contemporary qualities and social phenomena. She has recently been focusing on social relations, ideology and people's behavior presented by "landscape society", "packaging" and "surface", as well as post-aesthetics, contemporaneity and the exploration of the relationship between media, body and society. Her artistic forms include installations, fiber arts, videos, performances, theater performances, paintings.

Ying Xinxun’s works have been exhibited in many artistic institutions, including Today Art Museum (Beijing), Times Art Museum, Beijing Minsheng Art Museum, Shanghai Museum of Contemporary Art, Zhejiang Art Museum, He Xiangning Art Museum (Shenzhen), Shanghai BANK Gallery, Macau Contemporary Art Center, PIFO Gallery (Beijing) as well as in Germany and Japan. Her group exhibitions include the 1st and 3rd “Hangzhou Triennial of Fiber Art”, the 4^th Documentary Exhibition of Fine Arts / Stress Field, An Alternative Eye: Sights Between Identity and Media (International Contemporary Art Group Exhibition), the First CAFAM Future Exhibition “Sub-Phenomena” Nomination, Frontier Fiber Art Exhibition “0:00” by Shanghai BANK Gallery. She has been nominated for the "Excellence Award", Today Art Museum & Martell Art Fund's highest award for future art, “Focus On Talents Project Award” and “WANG SHIKUO Nomination Award” of Beijing Today Art Museum. She was sponsored by Today Art Museum & Martell Art Fund for an art residency and study tour in Düsseldorf, Germany and recently went to Berlin, Germany for a three-month art residency. Her works are collected by Today Art Museum, Martell Art Fund, Wang Shikuo Foundation and other collectors.

A research focus on art’s responses to ubiquitous computing, big data and AI, as well as the psycho-geography of technologies and China’s techno-infrastructures. Iris is the Berggruen Fellow. She was shortlisted for the first M21-IAAC Award (International Awards for Art Criticism). Her translation work, Rethinking Curating: Art after New Media, was nominated for Art Publication of the Year of AAC Art China awards in 2016. The exhibitions she curated include Lying Sophia and Mocking Alexa (received Hyundai Blue Prize for curators, sopihalexa.com) and Blue Cables in Venetian Watercourse (PSA Emerging Curator’s Program). In 2020, she was a member of the international jury for the art section of the computer graphics conference SIGGRAPH ASIA. She is also on the art international jury of SIGGRAPH Asia 2020. Iris’s research has been presented in “Art and Artificial Intelligence” (Open Conference, ZKM), Art Machines: International Symposium on Computational Media Art (ISCMA, Hong Kong). In 2021, she initialized “Port”, a long-term research and curatorial project on the infrastructures of science and technology in China.

Born in Anshan, Liaoning, Wang Hongzhe is a scholar of media history. He received his B.S. in Materials Science and Engineering from China University of Mining and Technology, his M.A. in Communication from Peking University, and his Ph.D. in Communication from The Chinese University of Hong Kong. His research interests include media history, Cold War history, information society and labor studies. He is currently a researcher, long-appointed associate professor, doctoral supervisor, and Boya postdoctoral co-advisor at the School of Journalism and Communication, Peking University. He is also the founder of “Beijing Media Group” and “Playbook”.

The general convener of the 4th Hangzhou Triennial of Fiber Art Lecture and Forum in 2022, the curator of the "Fiber Code" exhibition in 2021, the curator of the 3rd Hangzhou Triennial of Fiber Art International Symposium in 2019, and the curator of the 2nd Hangzhou Triennial of Fiber Art in 2016. She got PhD degree in art theory from the China Academy of Art, and is currently a teacher in the Fiber Art Department of CAA. Her research focuses on the historical and theoretical study of modern and contemporary fiber art, and her main academic articles published in recent years include "The Textile Across Decoration", "From Embroidered Painting to Needle Words, "Second Skin",  "Boundless Encounters ", "Fiber: The Shared Code of Art and Design ", and the publication of  Embroidered Painting: Research Into China’s Traditional Jiangnan Embroidery. From 2021, she becomes the China region editor of Textile: Cloth and Culture, an international important journal on textile.