b. 1974, Beijing, China; lives and works in Lantau Island, Hong Kong, China.

Zheng Bo's work explores the intersections between ecology, politics, and culture, with a particular focus on queer ecology and the relationships between humans and plants. Their practice encompasses a range of mediums, including photography, video, performance, and installation. Through this work, they seek to challenge anthropocentric attitudes towards nature and promote alternative ways of understanding and relating to the natural world. Zheng Bo's work is a powerful example of how art can be used to engage with urgent ecological and social issues and to challenge dominant cultural narratives about the relationship between humans and the natural world. Their work invites viewers to reconsider their own relationships to nature and to imagine alternative ways of living and relating to the world around us.

Zheng Bo’s recent exhibitions include Samur Jameel Arts Centre, Dubai (2023); Zheng Bo: Beech, Pine, Fern, Acacia, Kiang Malingue, Hong Kong (2023); Full Burn: Video from the Hammer Contemporary Collection, Hammer Museum, Los Angeles (2023); Maluw Adhil Urngu Padanu Mamuy Moesik, Institute of Modern Art, Brisbane (2023); The Milk of Dreams, 59th International Art Exhibition of La Biennale di Venezia, Venice (2022); rīvus, 23rd Biennale of Sydney (2022); Pacific Century, Hawai’i Triennial 2022, Hawaii (2022); OVERVIEW EFFECT, Museum of Contemporary Art, Belgrade (2021); The Stomach and the Port, Liverpool Biennial 2021, Liverpool (2021); Intermingling Flux, Guangzhou Image Triennial 2021, Guangdong Museum of Art, Guangdong (2021); Wanwu Council, Gropius Bau, Berlin (2021); Afterglow, Yokohama Triennale 2020, Yokohama (2020); The Soft and Weak Are Companions of Life, The Kunsthalle Lissabon, Lisbon (2020); Performance Programme of the 58th Venice Biennale, Venice (2019); Interventions, Asia Art Archive, Hong Kong (2019); Unexpected Encounters, Latvian National Museum of Art, Riga (2019); Manifesta 12, Palermo (2018); 11th Shanghai Biennial, (2016).

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