This giant pillow is made of metal welding materials and processes. The artist specially designed the perforation design with lace pattern as the prototype parameter design, so that the pillow has a stronger fabric texture.

At the same time, the work itself has been carefully calculated and added to the hard material, forming a contrast - mechanical products are created through industrial production, but are not abrupt in nature, but coexist with nature in a flexible attitude.

"Dream" in the green mountains, like a wild product, posture like a vine spread upward growth, but also like the wind blowing through the solidification of the moment, it is not static. Perhaps, as the artist himself understands, wild represents vitality, a state that is not subject to human subjective control, but also represents infinite possibilities. The spreading attitude of "dream" is the embodiment of vitality.

The kaleidoscopic installation "Reflector" was placed by Dutch artist group Atelier ARI into a triangular opening in a birch forest on a rice field in the Tagan Line of the mountain village, facing the lake and the forest. The 4-sided cone-shaped installation has mirrors on three sides and a colorful base on the bottom.

Looking up from the middle of the lake, one can see the entire pavilion as an explosion of color due to reflection, like a canvas that has been randomly splashed with paint. If you look at it from the back, it looks like it's part of a birch forest and belongs entirely to this forest.

The pavilion can be accessed from the front or from the rear walkway, and after passing through a small passageway, the cone-shaped installation opens before the eyes, creating an intimate interior space where viewers can lie on the slanted floor with artistic creations and enjoy the view or art.

The shape of the horn opens up the view, and the reflection of the external environment on the ceiling creates an open view of the landscape and the lake from a bird's eye view, and at the same time, an inverted world inside.

When the audience lies in the installation and looks out, they will be surrounded by the forest 360 degrees, and the relationship between man and nature becomes virtual and real. In the real nature, they see the nature in a mirror, and it changes with the movement of people, while reflecting the nature, they are separated from the nature.

The intertextuality and dialogability between the work and the environment are the most important things that artists pay attention to when creating. Mirror and bamboo forest, one of the products of industrial society, seem to be two unrelated elements, but in the artist's creation, they are merged into one and two sides of the work, which is also like the two sides of human beings in this society, one is the completely wild desire, perception and emotion given by nature, and the other is the social behavior that has been socialized and even domesticated. Both need to be internalized to achieve a greater degree of dexterity.

Atelier ARI believes that wild is more intuitive, and does not let civilization, or sociality, guide you, is a more animalistic concept. They emphasize the most primitive instincts and impulses to stimulate the temperament and action, in order to resist the outside world to tame life again and again.

If nature could make a sound, what would it be like? Artist Matt Hope's installation "Outer Ear, Inner Sphere" in Qingshan Village is like a natural loudspeaker, standing in the nature and collecting sound from the vegetated area without the need for electricity.

To make the installation self-functioning, artist Matt Hope first designed a 3D Mosaic system consisting of two curved panels to ensure that it could be installed without the help of too much modern technology and heavy machinery.

The creative process is like an experiment, from the design of computer screens to the production, cutting and assembly of components, everything is mechanized, but also requires precise calculations and the underlying logic of geometry, which, when placed in nature, transforms into another identity - the microphone of the Earth.

From the outside to the inside, the audience can feel the change of atmosphere is strong, and the huge background sound makes them pay more attention to their auditory system - the sound without physical entity lingers in the ear, which is an experience that cannot be expressed in images.

In an age when images are the most important information flow, and eyes always take precedence over ears, the plethora of images on social media may be quietly causing a sensory imbalance. "Have we collectively become lazy, desensitized, and invalidated reality?"

The artist replied that he believed that pictures could not capture the most complete and profound meaning of life, and that the appearance of the movement and sound of listening also corrected the existing imbalance.

Whether from the outside of the installation, or the inside, you will feel its strangeness in the land, like a strange science laboratory or an alien spaceship randomly landing on the hill, its shape is slightly abrupt here, but the sound is closely connected to the land.

We always admire the new inventions of human beings, and applaud the emerging technologies such as rocket launch, robotics and artificial intelligence. In the artist's view, these technological breakthroughs undoubtedly represent the extension of human beings in the field of science and technology, but at the same time, they are also squeezing the earth.

We've collectively changed the surface and atmosphere of the world, polluting deeper space with radio signals, and "it's naive and dangerous to think of the Earth as just an energy supermarket," so Hope has designed a sustainable way to do this, both during the fabrication process and during installation and disassembly. The use of 100% recyclable materials reduces energy costs at the time of production, and the installation and disassembly process does not burden the land.

It may be hard for us to believe that we have ever seen a natural landscape that has not been tamed and has not been touched by human beings, but we should respect nature and the wild and listen to their voices.

Art does not have to be heavy, critical, negative reflection of reality, the imagination of beautiful things will also breed the impulse to create. "Ru · Wish" is the work of Wang Wei, Bai Moti and Dai Pu, inspired by the Wishing Fountain.

According to the specific local conditions, starting from the "mountain" character and geographical scenery of Qingshan Village, the designer created a mountain-shaped wishing pavilion. The geometric form of the simplified "mountain" is embedded in the green mountains and green bamboo, and the artistic conception is calm and harmonious. Upon entering, it is an installation full of color and vitality, with enlarged squares of stained glass neatly filling the walls.

The different color levels are a metaphor for the pixelated underlying viewing logic of the mobile phone. "This pixelated colored light dominates all our behavior in the dark." One of the challenges in the actual construction was how to combine the design of the Wishing pavilion with the technical support of the structure on the slope to ensure that the work remained stable in the natural environment.

"Wild" is the primitive, natural state, connected with the truth and purity of nature. The intention of the designer's creation is to try to retain the original and simple beauty, while distinguishing it from the concept of anthropocentrism.

In fact, feralization appears repeatedly in the development of art, and creators are eager to liberate the disciplined visual experience and strip away the reality of urbanization and industrialization. The artist Jean Arp, one of the founders of the Dada movement, believed that artists should deliberately resist "the human impulse to impose order on everything."

In the end, the work is not only a self-expression of the artist's emotions, but also a sustenance for healing and feedback of emotional value. In an artistic and poetic way, it inspires the audience's positive attitude and action, and transmits the optimistic spirit.

Technology, fashion and art have always been cultural expressions that coexist. Public space can be an incubator for ideas and ideas, providing a place of humanistic significance to cultivate the aesthetic foundation of local residents.

"In Qingshan · Qunxiang Art Season" takes place in an ordinary village, gathering diverse creators in the fields of art, sound, architecture, design, etc., using the earth and natural environment as the exhibition field, to establish a new way of interaction between people and nature, which may become the beginning of building sustainable communities in the countryside.