荒野之国丽江艺术火把节｜公共艺术×国际艺术家

艺术家Artists｜Schall Uwe-Michael  

-德国，Germany

形式语言Type of art｜公共装置Installation art 、展亭Art Pavilion

材质Material｜竹子Bamboo、竹片Branches、纸Paper、丝绸Silk

作品尺寸Dimensions｜15m x 5m

创作时间｜2024

Sun Nexus Pavilion

At the heart of Yunnan's Torch and Fire Festival, amidst theenchanting natural landscape, stands the Sun Nexus Pavilion,a yurt-like structure designed to celebrate the profound connection between humanity, nature, and the cosmos.Crafted from sustainable bamboo, flexible branches, and delicate silk,this pavilion serves as both a shelter and a gathering space.

The centerpiece of the Sun Nexus Pavilion is a striking hyperboloidtower. This hollow structure, with its curved, opening shape, points towards the sun, creating a visual and symbolic link with the universe.It captures and channels Light and energy,illuminating the pavilion from within.The roof, composed of translucent, sail-like covers,dances with the wind, bringing the pavilion to life.

This dynamic movement invites festival-goers to seek refuge from the sun's intensity while fostering a space for communal interaction. Here, people can meet,share ideas, and experience the collective presenceof those around them.

The Sun Nexus Pavilion is more than just a shelter;it is a living, breathing Symbol of the unity between earth and sky, a testament to the power of connection and the flow of energy through all things.

艺术家Artists｜Rodrigo Escobar 李戈 

-哥伦比亚，The Republic of Colombia

形式语言Type of art｜装置Installation art

材质Material｜竹条，宣纸, 细线

作品尺寸Dimensions｜3.5立方米

创作时间Creation time｜2024

Nencatacoa is a deity in the mythology of the Muisca people. This indigenous ethnic group resided in what is today the regions of Cundinamarca and Boyacá in Colombia before the arrival of the Spanish conquerors. Nencatacoa is the god of weavers, arts, dance, and festivals, similar to the Greek concept of Dionysus.

The Muisca people worshipped numerous gods who managed different aspects of nature and society, and Nencatacoa was particularly associated with images of creativity and transformation, key elements in textile making, and the production of crafts.

Nencatacoa often wears cotton garments; sometimes, in certain representations, he is seen wearing masks. He taught humans how to weave and create other handicrafts. His worship included dancing and the consumption of fermented beverages during ceremonies.

With the arrival of the Spaniards and the imposition of Christianity, indigenous religious practices, including the worship of Nencatacoa, were suppressed. The memories of these deities have largely been preserved through chronicles and anthropological studies.

Nencatacoa (Nencatacoa) is a deity in Muisca mythology, the Muisca culture being an indigenous culture that lived on the high plateau of Cundinamarca in the current Colombian region. This entity is primarily considered the guardian of weavers, artists, drunks, and celebrants and is not directly associated with fire in most historical references. However, the connections between myths and different deities can change over time and by region. Nencatacoa is usually associated with nature and transformation, and he is worshipped in celebrations and ceremonies that may involve fire. In many cultures, the use of fire in rituals is not uncommon, as it can symbolize transformation, renewal, and purification. In Muisca mythology, the entity most closely associated with fire is Chía, the moon goddess, also considered a nighttime fire deity due to her association with the night and moonlight, which was seen as a reflection of the sun, embodied by the god Sué.

Although Nencatacoa is not traditionally directly related to fire like a fire god, fire might be involved during the ceremonies and celebrations where he is invoked, serving as a ceremonial tool or symbol.

I propose to pay homage to my ancestors by creating this ephemeral sculpture out of natural fibers and assembling it with geometric shapes to give it structure, much like weaving. When the flames are ignited, these geometric shapes will dance, symbolizing the life and death of Nencatacoa. It is a tribute to creation and brotherhood across different civilizations and eras.

艺术家Artists｜Lucas AUDOLY & 姚灵Data_yao

-法国&中国 France&China

形式语言Type of art | 公共装置作品 Installation art

材质Material | 木方 Wood Batten、木板 Wood Board、竹 子 Bamboo、银纸 Silver Paper、麻绳 Hemp Rope

作品尺寸Dimensions| 6m x 7m

创作时间Creation time | 2024

The Great Flood is a common myth across many cultures worldwide, including Mesopotamian, Greek, Indian, Chinese, and Mayan civilizations. The artwork "In The Void: The Spiritual Rhythm" portrays the ancient imagination of the Diqiang people, symbolizing and metaphorizing the myth of the Great Flood.

She transcends moral judgments and societal norms of today, symbolising an existence that defies definition, embodying the primal diversity of possibilities. The diversity of life cannot be confined, necessitating the courage to break free from norms and cognitive frameworks, striving to create value in states of destruction and renewal.

“ The earlier culture will become a heap of rubble and finally a heap of ashes, but spirits will hover over the ashes. ” — Ludwig Wittgenstein

艺术家Artists｜FRE 

-意大利, Italy

形式语言Type of art｜公共装置, Installation art

材质Material｜木头wood, 木板条 wood batten, 绳子rope, 丝绸silk,丙烯酸漆 acrylic paint, 钉子 nails、螺丝 screws、胶水 glue

作品尺寸Dimensions｜3m x 3m x 6m

创作时间Creation time｜2024

Like the gnostic path of Pinocchio: we are here to learn, to leave our egocentric nature and to return to Ithaca, like Odysseus. Awaking our consciousness to become real human beings, living in the universal peace and harmony maintained by love.

Collodi's Pinocchio, later drawn by Disney, is not a fairy tale for children. It is the typical story of transformation and coming of age present in various cultures around the world. An initiatory journey that leads to true knowledge of our own nature and the existence we experience. To free our consciousness, to awaken, as also happened to Buddha, is to free ourselves from the earthly chains that keep us bound to lower levels of existence. We are here to learn and improve ourselves to the light of true knowledge that calms our hearts by opening them to a universal and pure love.

The two silhouettes of Pinocchio's face represent the two sections of the brain, the left brain, more logical, and the right side, more creative.

The wooden boards that tie the two sections together represent the connection between the two brain hemispheres and a "spiritual" ladder that once set in motion can awaken our consciousness.

The dangling wires represent our earthly chains, our baser emotions, such as fear, that keep us locked in a material prison.

The wooden box represents what contains us, our body, our Earth, which through the flames of fire we will abandon.

The flame symbolises Fire-Eater (Mangiafuoco), the guardian of the threshold. The transition between ignorance and knowledge.

In this public art action, we invite the audience to embark on a journey through time together. The artwork uses a table tennis court as a canvas to capture the beautiful memories of my childhood. In my mind, the court of table tennis was not just one part of sports equipment, but an important altar that carried the flow of energy and countless interactive sparks.

From my childhood through youth to adulthood, the table tennis was and will be an indispensable part of my life. During  each practice and competition, I unleashed my energy and challenged myself. Each stroke seemed to evoke a sense of consciousness return, sparking joy in my heart. Table tennis became the stage for me to explore the world. Now I invite you to join me to unlock the beauty of table tennis.

This exhibition is not only a tribute to the past but also a dialogue between the present and the future. Through the ritual of fire, we reconnect with those precious childhood memories and feel the flow of time. In this interaction, we co-create and share this energy-filled art festival, commemorating childhood and healing ourselves. 

「安魂 - Soul in Wilderness」 This work is an introspective contemplation and reinterpretation of the dualism of the soul and spirit in ancient Chinese beliefs. The work embodies a reflective journey into this spiritual philosophy, where a person’s life is forged from the soul and the spirit—the soul being the essence of thought and consciousness, and the spirit the vital force within the body. The soul imparts wisdom and ethereal grace, transcending the body to another existence upon death, while the spirit, bound to the physical, fades into dust. All the Chinese traditional funeral rites pivot on this dualism, aiming to pacify both soul and spirit.

Burning paper effigies has long been a significant part of Chinese funerary customs. "安魂 - Soul in Wilderness" raises a sanctuary of paper structures, borne by the embracing waters, to safeguard wandering souls. Along the lakeshore, elegies from different individuals gathered rise in solemn rows. In this sacred space, participants are invited to inscribe their memories and blessings for the departed onto paper boats. These tender messages drift with the water, merging into the paper sanctuary. The act of burning these offerings and boats releases these wishes, guiding the souls back to a tranquil realm.

The entire installation, made from soft paper, gently envelops the soul. In this ritual harmonizing with nature, seeks to transcend grief, fostering a tranquil conversation between the living and the souls they cherish. It celebrates the serene return of the departed soul and the living’s journey of solace and acceptance.