唐骁 TangXiao

生态雕塑在武汉

孙振华

2021年10月17日，“百分百——2021东湖国际生态雕塑双年展”在江城武汉拉开帷幕。这是继2017年“27度角东湖国际生态雕塑双年展”之后，关于生态雕塑的又一次盛事。东湖国际生态雕塑双年展是国内第一次以生态为主题的雕塑大展，它是一个倡导生态文明，推动生态艺术，更新生态观念的具有开创意义的展览。

东湖雕塑双年展的宗旨是：通过举办一个面向国内外的公益性、学术性、前沿性，以生态为主题的雕塑艺术展，展示当代生态雕塑的最新创作成果；探索人与生态、环境、自然的关系；推动生态艺术的学术交流；促进当代中国雕塑向生态化方向的发展和进步；提升武汉地区公共空间的品质，打造一个能够体现武汉文化艺术水准的一流的文化艺术品牌。

2017举办的第一届东湖雕塑双年展的主题是：“27度角”。作为一个雕塑的专业术语，27度角的说法来自雕塑大师米开朗基罗。1544年在改建罗马卡比多广场时，米开朗基罗提出，人的观赏与雕塑作品达到27度角时，整体的视觉关系最为完整。此后，雕塑界便将27度角作为确定雕塑尺度大小的一个标准。

“27度角”作为首届东湖雕塑展的主题，鲜明地表达了双年展的价值观，这就是：以人为本，以人的角度和视线去选择艺术作品，从而确定雕塑与环境、与自然之间的最佳尺度，营造满足人的审美需求的艺术景观，协调好人与艺术、人与自然、人与公共空间的关系，用艺术服务好最广大的公众。

2020年，随着全球新冠疫情的蔓延，生态问题又一次被尖锐地摆到了全世界的面前，摆到了每个人的面前；新冠疫情的肆虐，再一次敲响了生态的警钟，也再一次验证了东湖国际生态雕塑双年展的前瞻性、必要性、紧迫性。

与第一届生态雕塑双年展相比，本次生态雕塑双年展设有两大展区，一个是位于武汉创意天地芷美空间的室内展区，作为今年的新增展场，将以27件不同类型的雕塑、影像、装置、新媒体艺术等作品，传达艺术家对于生态的深刻洞察；另一个位于武汉石门峰纪念公园的户外展区，它则以23件大型户外雕塑、互动装置为观众带来生态视野下的全新思考与体悟。

本次生态雕塑双年展从2021年10月17日持续到2022年4月16日，展览由芷美空间、湖北美术馆、武汉合美术馆联合主办；武汉石门峰纪念公园有限公司与武汉天域恒信投资管理有限公司出品；武汉设计工程学院公共艺术学院、武汉创意发展有限公司为展览提供了有力的支持。

第二届东湖国际生态雕塑双年展的主题是“百分百”。

“百分百”首先表达了生态雕塑双年展不遗余力地推进生态文明的态度；也体现了创新性地在中国引领生态艺术的决心。今天，如何加大生态文化和生态艺术的推广力度，更好、更自觉地在文化、艺术和日常生活中倡导生态文明观，是一个长期的任务；它不仅事关我们今天，更事关我们人类共同的未来。在生态问题面前，每个人都负有不可推卸的责任。只有以“百分百”的态度和决心，我们才会有对生态的高度重视，才会推动生态观念的彻底转变，我们所期待的生态文明才有可能实现

“百分百”还是一种视角，是一种眼光。它主张全方位的生态视角，强调生态意识、生态关怀、生态行为、生态美学，将它们贯穿在我们生活的全部，并进行“百分百”地全覆盖，“百分百”地观照。生态文明，将是人类思维方式、认知方式的一次革命，它将促成人类由以人自我为中心转向以生态为中心的转变。

“百分百”同时还是生态艺术的媒介方式，是生态美学表达手段。展览主张以全媒体的方式来进行生态表达。参展作品的媒介方式是百分百开放的，它可以是传统媒介的艺术方式，也可以是新的媒介方式。凡是符合展览的学术方向，符合展览场地要求的采用任何媒介的作品，都可以成为生态雕塑展览的呈现手段和表达方式，成为与城市对话，与市民对话手段；任何与时俱进的高新科技和各种生态手段都可以用来诠释生态美学、生命美学。

“百分百”还表达了一种理想和愿望。它表达的是社会动员的理想，渴望公众广泛参与的愿望。东湖生态雕塑双年展的目的说到底是进行整体的社会动员，通过展览，唤起全社会关注生态，积极保护生态环境，积极参与生态文明建设，积极践行绿色、环保、可持续的生活方式。实现这种理想和愿望将是东湖生态雕塑双年展的长期任务。

“百分百”最后也是武汉城市的写照。武汉是东湖之滨的英雄城市，它一度是疫情的重灾区；只有经历了风雨，才会更加珍惜阳光；只有经历了灾难，才会更加热爱生命；经受了疫情考验的武汉，更有“百分百”的理由举起生态的旗帜，将武汉变成一个生态之城，人与自然的和谐之城，可持续发展的未来之城。

站在展览策划的角度，我们是如何看待“生态雕塑”这个概念的呢？

所谓“生态”就是生命体的状态。在我们看来，生态不只是自然生态，“大自然是人的无机的身体”，自然从来就是和人文、艺术息息相关的；同时，人的生存、人类社会作为活的有机体，本身也有自己的生态问题。因此，我们所说的“生态”是一个综合的概念，包括了自然生态、人文生态和社会生态。

Ecological sculpture in Wuhan

Sun Zhenhua

On October 17, 2021, "100% - 2021 East Lake International Ecological Sculpture Biennale" kicked off in the Jiangcheng Wuhan. This is another grand event on ecological sculpture after the 2017 "27-degree Angle East Lake International Ecological Sculpture Biennale". East Lake International Biennale of Ecological Sculpture is the first sculpture exhibition with the theme of ecology in China. It is a pioneering exhibition that advocates ecological civilization, promotes ecological art, and updates ecological concepts.

The purpose of the East Lake Sculpture Biennale is to display the latest creations of contemporary ecological sculptures by holding a non-profit, academic, cutting-edge and ecologically-themed sculpture art exhibition facing home and abroad; to explore the relationship between man and ecology, the environment, The relationship between nature; promote the academic exchange of ecological art; promote the development and progress of contemporary Chinese sculpture in the direction of ecology; improve the quality of public space in Wuhan, and create a first-class cultural and artistic brand that can reflect the cultural and artistic level of Wuhan.

The theme of the first East Lake Sculpture Biennale held in 2017 is: "27-degree angle". As a technical term for sculpture, the term 27-degree angle comes from the sculptor Michelangelo. In 1544, when remodeling the Capitoline Square in Rome, Michelangelo proposed that the overall visual relationship is the most complete when the angle between human viewing and sculpture works reaches 27 degrees. Since then, the sculpture circle has taken the 27-degree angle as a standard for determining the scale of sculptures.

As the theme of the first East Lake Sculpture Exhibition, "27-degree angle" clearly expresses the values of the biennale, which is: people-oriented, choose artworks from the perspective and sight of people, so as to determine the relationship between sculptures, the environment, and nature. The best scale is to create an artistic landscape that meets people's aesthetic needs, coordinate the relationship between people and art, people and nature, and people and public space, and use art to serve the broadest public.

In 2020, with the spread of the global new crown epidemic, ecological issues have once again been sharply placed in front of the world and in front of everyone; the raging new crown epidemic has once again sounded the ecological alarm and verified it again The foresight, necessity and urgency of the East Lake International Biennale of Ecological Sculpture are highlighted.

Compared with the first Eco-Sculpture Biennale, this Eco-Sculpture Biennale has two exhibition areas. One is the indoor exhibition area located in Zhimei Space, Wuhan Creative World. As a new exhibition area this year, 27 pieces will be presented Different types of sculptures, videos, installations, new media art and other works convey the artist's deep insight into ecology; another outdoor exhibition area located in Shimenfeng Memorial Park in Wuhan brings 23 large-scale outdoor sculptures and interactive installations to the audience. New thinking and understanding from an ecological perspective.

The Biennale of Ecological Sculpture will last from October 17, 2021 to April 16, 2022. The exhibition is co-sponsored by Zhimei Space, Hubei Art Museum, and Wuhan He Art Museum; Wuhan Shimenfeng Memorial Park Co., Ltd. Produced by Yuhengxin Investment Management Co., Ltd.; School of Public Art of Wuhan Institute of Design and Engineering, and Wuhan Creative Development Co., Ltd. provided strong support for the exhibition.

The theme of the 2nd East Lake International Ecological Sculpture Biennale is "100%".

"100%" first expresses the attitude of the Eco-Sculpture Biennale to spare no effort to promote ecological civilization; it also reflects the determination to innovatively lead ecological art in China. Today, how to increase the promotion of ecological culture and ecological art, and how to better and more consciously advocate the concept of ecological civilization in culture, art and daily life is a long-term task; it is not only related to us today, but also to us the common future of mankind. In the face of ecological problems, everyone bears an inescapable responsibility. Only with a "100%" attitude and determination can we attach great importance to ecology, promote a complete transformation of ecological concepts, and realize the ecological civilization we are looking forward to.

"100%" is still a perspective, a vision. It advocates an all-round ecological perspective, emphasizing ecological awareness, ecological care, ecological behavior, and ecological aesthetics, running them through all of our lives, and carrying out "100%" full coverage and "100%" observation. Ecological civilization will be a revolution in the way of thinking and cognition of human beings, and it will promote the transformation of human beings from self-centered to eco-centered.

"100%" is also a medium of ecological art and a means of expressing ecological aesthetics. The exhibition advocates ecological expression in an all-media way. The medium of the exhibited works is 100% open. It can be a traditional medium or a new medium. Any works in any medium that meet the academic direction of the exhibition and meet the requirements of the exhibition site can become the means of presentation and expression of the ecological sculpture exhibition, and become a means of dialogue with the city and citizens; any high-tech and All kinds of ecological means can be used to interpret ecological aesthetics and life aesthetics.

"100%" also expresses an ideal and aspiration. It expresses the ideal of social mobilization, the desire for broad public participation. The purpose of the East Lake Ecological Sculpture Biennale is ultimately to carry out overall social mobilization. Through the exhibition, it will arouse the whole society to pay attention to ecology, actively protect the ecological environment, actively participate in the construction of ecological civilization, and actively practice a green, environmentally friendly and sustainable way of life. Realizing such ideals and aspirations will be the long-term task of the East Lake Ecological Sculpture Biennale.

"100%" is finally a portrayal of the city of Wuhan. Wuhan is a heroic city on the shore of the East Lake. It was once the hardest-hit area of the epidemic; only after experiencing wind and rain will we cherish the sunshine more; only after experiencing disasters will we love life more; 100%” reason to hold up the banner of ecology and turn Wuhan into an ecological city, a city of harmony between man and nature, and a city of sustainable development in the future.

From the perspective of exhibition planning, how do we view the concept of "ecological sculpture"?

The so-called "ecology" is the state of life. In our view, ecology is not just natural ecology. "Nature is the inorganic body of human beings." Nature has always been closely related to humanities and art. At the same time, human survival and human society, as living organisms, also have their own ecology. question. Therefore, what we call "ecology" is a comprehensive concept, including natural ecology, humanistic ecology and social ecology.

在这里，作为生态雕塑的“雕塑”，不再是一个狭义的艺术分类学的概念，它是一个扩大了的艺术概念，它是后工业时期，伴随当代生态文明的建设，以生态哲学为主旨、以生态美学为方法、以生态艺术为手段，以生态物质为材料，重新认识生命、创造艺术、塑造社会的一种新的行为和过程。

从目前来看，“生态雕塑”还在发展中，还在不断探索和界定中；它并没有既定的图式，没有固定的形态，没有不变的范围；它更多的是一种立场和态度，一种眼光和方法，一种探索的姿态。

对艺术家来说，“生态雕塑”意味着将万物看做一个有机整体，对一切生命抱着尊重、敬畏的态度；倾听大地的声音，感知万物的天性。通过自己的作品增进人们对世间万物生命状态的理解和感知；抵制、批判那些违背、戕害生命的行为和现象；始终保持一个艺术家的敏锐和良知，保持自己的感受力、想象力和同情心。

对观众而言，“生态雕塑”是一种参与的招唤。从现在起，尝试换一种眼光看待艺术，换一种心情体察世界，换一种方式体验生命。天空、气体、水面、青草、树木、鲜花都可以成为艺术的载体；当然，弃物、废品、垃圾也可以通过艺术的名义获得再生，可以重新加入生命的循环。在这个展览里，一部分借助新媒体科技手段所创作的虚拟图像、数字景观无疑也是生态的，它们以非物质实体的虚拟现实替代了传统艺术的存在方式，预示着未来时代最富有活力和想象力的艺术存在的可能。

本届双年展采取了重点邀请和广泛征集的两种方式。应邀参展的艺术家全部采取了亲临展览现场的方式，进行实地考察，根据环境和自然条件，量身定做新作品。

例如，展场有一部分水面，根据这一特点，中央美院费俊教授创作了《水曰》，这是一件结合AI人工智能技术的互动装置作品，参与者可以通过私密的语音输入方式，与水进行对话，水会以原生的语言来回应人的声音。这种人与水的奇妙交流，体现了“万物有灵”的自然生态的观念。

中国美院的郑靖教授则利用水面创作了《水书——生命》的作品，这也是一件水下程控装置，它巧妙地利用了水的流体特征和虹吸原理，让水面出现下陷的“水书”字迹，仿佛有一只无形的神笔不断在水面上疾书“生命”二字，让平常的水面具有了神奇的力量。

Here, "sculpture" as an ecological sculpture is no longer a narrow concept of art taxonomy, but an expanded artistic concept. , Using ecological aesthetics as a method, ecological art as a means, and ecological materials as materials, a new behavior and process of re-understanding life, creating art, and shaping society.

From the current point of view, "ecological sculpture" is still in development, and is still being explored and defined; it has no established schema, no fixed form, and no constant scope; it is more of a standpoint and Attitude, a vision and method, a gesture of exploration.

For the artist, "ecological sculpture" means to regard all things as an organic whole, hold an attitude of respect and reverence for all life; listen to the voice of the earth, and perceive the nature of all things. Improve people's understanding and perception of the life state of all things in the world through my own works; resist and criticize those behaviors and phenomena that violate and harm life; always maintain the sensitivity and conscience of an artist, and maintain my own sensibility, imagination and compassion.

For the audience, "Eco-Sculpture" is a call to participate. From now on, try to look at art from a different perspective, observe the world with a different mood, and experience life in a different way. The sky, air, water surface, grass, trees, and flowers can all be the carriers of art; of course, waste, waste, and garbage can also be regenerated in the name of art, and can rejoin the cycle of life. In this exhibition, some of the virtual images and digital landscapes created with the help of new media technology are undoubtedly ecological. They replace the existence of traditional art with the virtual reality of immaterial entities, heralding the most vigorous and imaginative future era The possibility of artistic existence.

This year's Biennale adopts two methods: focused invitation and extensive collection. The artists invited to participate in the exhibition all took the method of visiting the exhibition site in person, conducted on-the-spot investigations, and tailored new works according to the environment and natural conditions.

For example, there is a part of the water surface in the exhibition hall. According to this feature, Professor Fei Jun of the Central Academy of Fine Arts created "Water Sun", which is an interactive installation work combined with AI artificial intelligence technology. Participants can use private voice input. Dialogue with water, water will respond to human voice in its native language. This wonderful communication between man and water embodies the concept of "animism" in natural ecology.

Professor Zheng Jing of the China Academy of Art used the water surface to create the work "Water Book - Life", which is also an underwater program-controlled device. The handwriting of "Water Book" seems to have an invisible magic pen continuously writing the word "life" on the water surface, which makes the ordinary water surface have magical power.

湖北美术学院袁晓肪教授的作品也是一个水上装置，它有一个充满诗意的名字《谁的名字写在水中》，这是英国著名浪漫主义诗人济慈的墓志铭。飘在水面上的也正是这几个字，它们带给观众的是关于生命的思考和联想。

本次参展作品中，一部分作品沿袭了上届展览的特点，充分利用生态材料，再生材料和废弃材料来进行创作，例如葛平伟的《家园》，在一个巨大的亚克力透明球体中填充了塑料垃圾，引起人们对环保问题的关注；高文谦的《耀斑》是一件典型的生态作品，他用竹竿、果园驱鸟彩带为材料，放置在一片荒地上，它们随风起舞，产生了良好的视觉效果；文豪的《五方世》采用现场废弃的水泥墩进行创作；坚果兄弟采用草皮进行创作；尼尔斯采用植物进行创作……

另一部分作品则在新媒体、新科技、新材料的运用上，拓展生态雕塑的边界。在这次展览中，利用声音元素来进行创作的有：王璜生的《萌之声》，这是互动的声音装置，观众在现场可以聆听到种子发芽的声音；唐骁的《撷音》则是在雕塑造型中，切割出一处能够停留倾听自然声音的装置；朱尚熹的《生命的形式》《碎片美术馆》则将实体空间和虚拟空间结合在一起，采用室内和室外联动的方式进行展示；唐勇、张翔的《筑巢3》，则用PVC管为主要媒材，结合LED灯进行创作；蔡雅玲则是将窄条的LED屏放在地面的草地上，随着草地的起伏，宛若流淌的河流……

过去人们根据对生态艺术的理解，大多采用自然材料、再生材料进行创作。本次双年展鼓励新媒体艺术作品，这种方式是尝试让高新技术更多地介入到生态艺术中，扩展生态雕塑的创新领域。事实上，新媒体艺术在生态、环保这方面是大有潜力可挖的，它不消耗、占用更多的自然资源，它用虚拟的方式来进行表达，这本身就是绿色、生态的方式。

一部分在国内有影响的著名艺术家，作品也紧扣生态主题，参加了本次展览，如李秀勤、邓乐、邵译农、孙绍群、项金国、高蒙、罗小平、史金淞、黄兴国、李占洋、张伟、郅敏、郭航、胡泉纯、卢征远、景晓雷等。

除了这些知名艺术家，大力扶持青年艺术家，是本次展览的一大亮点。展览中，出现了一批在新媒体艺术方面非常活跃，已经具有相当成就的青年艺术家；还有年轻的一批青年新锐也都加入到了生态雕塑创作的行列：郑达、张升化、万里驰、于康、易超、何利平、许毅博、黄雅莉、汪甜、傅瑶、张振、柯佳敏、王懿、张骏、易中天、陈琦、沈凌昊、王然、鲁杨、易畅雾、方阳、张振等，都拿出了最新创作参加本次展览。

生态雕塑在武汉，武汉也正在竭尽全力推动生态雕塑的发展，推动生态文明的建设。通过这两届生态雕塑双年展大家可以看到，生态雕塑本身就如同一个生命体，它本身就是一个不断生长，不断拓展的概念。东湖国际生态雕塑双年展正是在不断提出新的问题，不断回应这些问题的过程中，不断探索前进的。

The work of Professor Yuan Xiaofa of Hubei Academy of Fine Arts is also a water installation. It has a poetic name "Whose Name is Written in the Water", which is the epitaph of Keats, a famous British romantic poet. It is these words that float on the water, and they bring the audience thoughts and associations about life.

Among the exhibited works, some of the works follow the characteristics of the previous exhibition, making full use of ecological materials, recycled materials and waste materials for creation, such as Ge Pingwei's "Homeland", a huge acrylic transparent sphere filled with plastic waste, It draws people's attention to environmental protection issues; Gao Wenqian's "Flare" is a typical ecological work. He used bamboo poles and orchard bird-repelling ribbons as materials, and placed them on a wasteland. They danced with the wind, producing a good visual effect; Wenhao's "Five Worlds" was created using the abandoned concrete piers on site; Nut Brothers used turf to create; Niels used plants to create...

Another part of the works expands the boundaries of ecological sculpture in the application of new media, new technology and new materials. In this exhibition, creations using sound elements are: Wang Huangsheng's "Sound of Meng", which is an interactive sound installation, and the audience can hear the sound of seeds sprouting on the spot; Tang Xiao's "Sound Capture" In the sculpture, a device that can stay and listen to the sound of nature is cut out; Zhu Shangxi's "Form of Life" and "Fragment Art Museum" combine physical space and virtual space, and use indoor and outdoor linkages to create Exhibition; Tang Yong and Zhang Xiang's "Nest Building 3" uses PVC pipes as the main material and combines LED lights for creation; Cai Yaling puts narrow LED screens on the grass on the ground, following the ups and downs of the grass , like a flowing river...

In the past, based on the understanding of ecological art, people mostly used natural materials and recycled materials for creation. This biennale encourages new media art works, in this way, it is an attempt to allow high-tech to be more involved in ecological art and expand the innovative field of ecological sculpture. In fact, new media art has great potential in terms of ecology and environmental protection. It does not consume or occupy more natural resources, and it expresses in a virtual way, which itself is a green and ecological way.

Some famous artists with influence in China, whose works are also closely related to the theme of ecology, participated in this exhibition, such as Li Xiuqin, Deng Le, Shao Yinong, Sun Shaoqun, Xiang Jinguo, Gao Meng, Luo Xiaoping, Shi Jinsong, Huang Xingguo, Li Zhanyang, Zhang Wei, Zhi Min, Guo Hang, Hu Quanchun, Lu Zhengyuan, Jing Xiaolei, etc.

In addition to these well-known artists, vigorously supporting young artists is a highlight of this exhibition. In the exhibition, a group of young artists who are very active in new media art and have achieved considerable achievements appeared; there are also a group of young cutting-edge young people who have also joined the ranks of ecological sculpture creation: Zheng Da, Zhang Shenghua, Wan Lichi , Yu Kang, Yi Chao, He Liping, Xu Yibo, Huang Yali, Wang Tian, Fu Yao, Zhang Zhen, Ke Jiamin, Wang Yi, Zhang Jun, Yi Zhongtian, Chen Qi, Shen Linghao, Wang Ran, Lu Yang, Yi Changwu, Fang Yang , Zhang Zhen, etc., all brought out their latest creations to participate in this exhibition.

Ecological sculpture is in Wuhan, and Wuhan is also doing its best to promote the development of ecological sculpture and the construction of ecological civilization. Through the two biennials of ecological sculpture, you can see that ecological sculpture itself is like a living body, and it itself is a concept that is constantly growing and expanding. The East Lake International Ecological Sculpture Biennale is constantly exploring and advancing in the process of constantly raising new questions and responding to these questions.

撷音：

20世纪30 年代军用雷达诞生以前，英国在靠近欧洲大陆一侧用混凝土塑造了巨型的回音壁，这些最初的科技设备在一战中出现，用来防控探测从欧洲大陆飞来的战机，现在看起来这些设备的外形十分的怪异。

虽然由于技术的局限，这些设备的探测范围并不远，但鉴于当时能够进行超视距攻击的导弹还没有出世，飞机空袭必须抵近目标上空，它们在实际运用中还是发挥了一定的作用。

19世纪末20世纪初一战时期的雷达士兵靠耳朵和声音放大装置来监测远处的动静。难以想象，一个战士在漫长的时间里，注视着大海远处，耳里是放大后的海涛和风声，他试图在不断重复的音浪中寻找飞机引擎的噪声，以期能够给予后方的家园多出10到15分钟的预警时间。战士努力辨别，但也许他希望敌机引擎的声音永远不会出现。

在这里，听音器变成了我们听觉器官的放大和延伸，让我们在庞杂的声音中去专注的寻找自己需要的一段音调变成可能。石门峰纪念公园山水树草间影影绰绰的声响让我感到在此处应有一处能让人背靠山水，在虚空中切割出一个停留听音的装置，静中取声，声塑其形。纪念公园现有抗战空军纪念区，声音互动雕塑应是传统纪念雕塑的有机补充。这即是表达声音的雕塑，雕塑的声音的概念由来。

Capture sound:

Before the birth of military radar in the 1930s, Britain built a giant echoing wall with concrete on the side close to the European continent. These initial technological equipment appeared in World War I to prevent and detect fighters flying from the European continent. Now It seems that the shape of these devices is very weird.

Although due to technical limitations, the detection range of these devices is not far, but since missiles capable of over-the-horizon attacks have not yet been born at that time, aircraft air strikes must approach the sky above the target, and they still play a certain role in actual use.

At the end of the 19th century and the beginning of the 20th century, radar soldiers during World War I relied on ears and sound amplification devices to monitor distant movements. It is unimaginable that a soldier stares at the distance of the sea for a long time, and hears the amplified sound of sea waves and wind in his ears. He tries to find the noise of the aircraft engine in the repeated sound waves, hoping to give more to the homeland behind. Give a 10 to 15 minute warning time. The fighter struggled to discern, but perhaps he wished the sound of the enemy plane's engine never came.

Here, the listening device becomes the amplification and extension of our auditory organs, making it possible for us to focus on finding the tone we need in the complex sounds. The indistinct sound among the mountains, rivers, trees, and grass in Shimenfeng Memorial Park made me feel that there should be a place where people can rely on the mountains and rivers, cut out a device to stop and listen to the sound in the void, and pick up the sound in the quiet, and the sound can shape its shape. The Memorial Park has the Anti-Japanese War Air Force Memorial Area, and the sound interactive sculpture should be an organic supplement to the traditional memorial sculpture. This is the origin of the concept of sculpture expressing sound, the sound of sculpture.