Vertical, Horizontal and Spiral. Chinese Pavilion at the Puyuan International Contemporary Jewellery Art and Design Biennial

中文版 - Chinese version      

Artist list

Xinia Guan, Ji Haiyan, Gu Jiani, Ren Junying, Wang Kezhen, Yaning Liu, Li Muyang, Li Nan, Xiaoli Ning, Shi Qi, Li Qiang, Wang Qiong, Shi Ruining, Hu Shifa, Wang Taidi, Zhipeng Wang, Zixin Wei, Jiaheng Wu, Mian Wu, Xinyi Wu, Ni Xian'ou, Cheng Xiang, Huang Xiaowang, Wang Xiaoxin, Li Xiaoyu, Yuan Xie, Guo Xin, Jiaying Xu, Jiaoruao Xu, Jing Yang, Meihua Yang, Duan Yanli, Chen Yi, Dong Yichen, Deng Yirui, Yihan Yuan, Dai Yuchen, Sun Yueyang, Cheng Yujing, Lin Yuxuan, Cheng Zhilu, Lv Zhongquan

Contemporary jewellery has gradually become a "regular guest" in institutions bearing external symbols of art, such as art museums and galleries. These works are interpreted through exhibition labels, while art history and art theory are often employed to decipher such pieces. Within the framework of the artworld, these works have already stepped into the realm of pure art, becoming vibrant representations of artistic concepts. However, concept art itself emphasizes meaning over form. Consequently, contemporary art champions the freedom of media and the dissolution of boundaries. In this context, jewellery, as a fixed medium, appears neither distant nor close: while it breaks free from the constraints of material beauty and craftsmanship, it still grapples with the limitations of materials and function. Thus, artists not only contemplate what to say but also need to reflect, from an ontological perspective, on why it is said this way.

This self-critique first requires deconstructing the binary opposition of content versus form—specifically, the hierarchy that prioritizes artistic content over jewellery form—and breaking free from the circular reasoning of using the medium for the medium’s sake. From numerous domestic works, we can discern a creative strategy or interpretive approach: bidirectional becoming. Bidirectional becoming does not emphasize directionality but rather the connection formed when heterogeneous elements emerge and expand from two points, which can be elucidated through the lens of the Rhizome Theory. The author allows their territory of interest and the medium of jewellery to simultaneously generate multiple heterogeneous extensions through the process of research and practice. The connection between these divergent heterogeneous extensions gives rise to the artwork. Here, the territory of interest is not the meaning or concept of the work but rather a vibrant point that stimulates the generation of ideas. In this process, the author’s territory of interest also establishes a relationship with the medium of jewellery, yet the entire process of connection lacks hierarchy and remains unconstrained by the medium. Simultaneously, the wishful thinking of binary opposition transforms into a planar network of free encounters.

Since a network structure is formed, there emerges a force that tears open a creative line of flight, constantly testing the edges of the web, escaping from rigid sign systems toward new, uncoded systems, thereby achieving a cycle of deterritorialization. Thus, in the horizontal cross-boundary practice of jewellery, we witness the vibrant emergence of works that are not entirely jewellery-like. Of course, this kind of heresy does not represent the full posture of bidirectional becoming. Vertically, traditional craftsmanship and culture are continuously interpreted and regenerated within the ontology of jewellery and the artists' territory of interest, sustainably iterating their dynamic relationship with the contemporary context. As a result, the development of domestic contemporary jewellery has taken on a spiral of horizontal and vertical dimensions.

Curator：时翀 SHI Chong
Co-Curator：施琪 SHI Qi


Executive Committee: 
Biennale President: Chen Xianghong
Supervising Producer: Chen Yu
Chief Curator: Chen Youtong
Executive Producer: Yao Jie
Academic Director: Sun Jie
Art Director: Cao Xingyun
Project Director: Shi Chong, Liu Yunling, Shi Qi

Host Organization: 
Puyuan Fashion Resort

Organization Institutes: 
- Dingdu Cultural Foundation
- JCC International Contemporary Center
- TRIPLE PARADE


About Puyuan Fashion Resort

Puyuan Fashion Resort is the “twin ancient town” to Wuzhen, created by the same visionary planning and design team. While Wuzhen celebrates culture, Puyuan embraces fashion. The two sit side by side, complementing each other in theme, sharing resources yet thriving independently.

As China’s largest wool sweater market and knitwear hub, Puyuan Fashion Resort redefines fashion beyond clothing, curating a lifestyle of quality and aesthetics. It is designed as a dynamic ecosystem where design, showcase, trade, retail, and experience come together—making it not only a fashion industry cluster but also a high-end travel destination.

Drawing from the waterways and landscapes of Jiangnan, the town blends Tang and Song architectural influences with an imposing grandeur that sets it apart from traditional ancient towns. True to its identity as “China’s Fashion Ancient Town,” Puyuan is constantly innovating and breaking boundaries.

Since its grand opening in 2023, Puyuan Fashion Resort has become a stage for trend-setting events: the Douyin Creators Conference, GQ Men of the Year Gala, Puyuan Fashion Week, Figaro Music Party, Asia Wedding Style 2024, and the China showcase of New York Fashion Week · New Discoveries. It has also been featured in hit shows such as Everybody Stand By, Go Fighting!, Cats in the Box, and The Legend of Shen Li.

With every collaboration and cultural crossover, Puyuan Fashion Resort is accelerating its growth, proving itself as a bold fusion of tradition and fashion—and a new landmark on the global style map.