Kanwar's multi-channel installation is included as part of the 15th Shanghai Biennale titled Does the Flower Hear the Bee? The Peacock’s Graveyard (2023) weaves together images and sounds that meditate on the transience of existence. This work, where abstract imagery is  coupled with text on received narratives and oral histories, blends ancient and modern folklore traditions with personal experience. 

This edition of the Biennale will feature over 250 works by 67 individual artists and collectives from China and around the world, taking its cue from recent scientific discoveries about the interactions between different life forms. Like the flower that “hears” the bee’s wings, this exhibition aims to operate at the intersection of differing models of intelligence, both human and nonhuman. It is based on the belief that recent art provides us with a privileged space for such investigations, offering an embodied and interconnected sphere in which communities may form stronger bonds with what eco-philosopher David Abram has called “the more-than-human world.”