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Desert X AlUla：从 2024 年 2 月 9 日至 3 月 23 日，Desert X AlUla 2024 以“缺席的存在”为主题，委托艺术家用 15 件艺术作品来探索那些看不见的存在。
Desert×AlUla 是在阿拉伯半岛具有全球重要意义的古老沙漠地区 AlUla 举办的一个经常性和临时性的国际露天艺术展。今年的展览由 Maya El Khalil 和 Marcello Dantas 担任策展人，Raneem Farsi 和 Neville Wakefield 担任艺术指导，共展出 15 件新委托创作的艺术作品。
Desert X AlUla：From 9 february – 23 march 2024, under the theme of ‘in the presence of absence’, Desert X AlUla 2024 commissions 15 artworks to explore that which cannot be seen.
Open to all, Desert X AlUla is a recurring and temporary, site-responsive, international open-air art exhibition taking place in AlUla, a globally significant ancient desert region in the Arabian Peninsula. This year’s exhibition, under the curatorial vision of Maya El Khalil and Marcello Dantas, with artistic direction from Raneem Farsi and Neville Wakefield, features 15 newly commissioned artworks.
关于 Desert X AlUla 2024
继 2020 年第一届 Desert×AlUla 沙漠艺术双年展之后，Desert X AlUla 将于 2024 年 2 月 9 日至 3 月 23 日举办第三届，将沙特和国际艺术家富有远见的当代艺术作品置于沙特阿拉伯西北部 AlUla 地区非凡的沙漠景观之中。Desert X AlUla 将 AlUla 定位为体验场地响应式纪念碑艺术的全球目的地，邀请艺术家与 AlUla 地区的景观、自然和遗产进行对话，创作出与众不同的作品，这些作品设计源于当地，并与世界各地的观众产生共鸣。
本次展览以“In the Presence of Absence（缺席的存在）”为主题，向世界提出了一个疑问：“什么是看不见的？”沙漠常被误解为空旷之地，被视为沉默且静止的存在，但实际上它远不止肉眼所见。参加本次展览的艺术家将受邀探索未知和不可表达的想法，以敬畏之心探寻自然中肉眼无法觉察的细节。与景观进行全新的互动，以独特的视角去感受时间、风、光以及历史和神话编织出的微妙力量和氛围，从而揭示出一种全新的理解和感知。
今年，Desert X AlUla 艺术展也将首次在三个地点举行——广阔的 Wadi AlFann 沙漠、Harrat Uwayrid 的黑色熔岩地形与壮丽的景色中、AlUla 火车站周围历史悠久的 AlManshiyah 广场，参观者可以在不同的作品之间穿梭游赏，体验壮观而多样的艺术与自然景观。
Following two exhibitions since 2020, Desert X AlUla returns for its third edition from 9 February – 23 March 2024, placing visionary contemporary artworks by Saudi and international artists amidst the extraordinary desert landscape of AlUla, a majestic region in north-west Saudi Arabia. Positioning AlUla as a global destination for experiencing site responsive monumental art, Desert X AlUla invites artists to engage in a dialogue with the landscape, nature and heritage of AlUla to create distinctive works that emerge from the local context and resonate with audiences around the world.
Desert X AlUla takes place as a highlight of the AlUla Arts Festival, part of the annual AlUla Moments calendar of events. AlUla Arts Festival runs from 9 February – 2 March 2024. Under the theme of In the Presence of Absence, Desert X AlUla 2024 asks ‘what cannot be seen?’. Often dismissed as spaces of emptiness, deserts are rendered mute, static, but there is much more than meets the eye. Artists taking part in Desert X AlUla 2024 are invited to explore ideas of the unseen and the inexpressible.
The upcoming edition of Desert X AlUla will be situated across three locations for the first time, inviting visitors to experience spectacular and varied landscapes as they weave their journey between works. Desert X AlUla works can be seen in the desert landscape of Wadi AlFann, amongst the black lava stone terrain and breathtaking views of Harrat Uwayrid and at the AlManshiyah Plaza, which features the carefully preserved AlUla Railway Station, revealing the many layers of history and cultural confluence you find in AlUla.
参展艺术家及其作品的完整名单如下 The full list of exhibiting artists are:
该艺术作品灵感来源于“沙漠清漆”，这种清漆自然出现在像 AlUla 这样的风景中，并演变成带有黄色、橙色、红色与黑色的光滑表面，几个世纪以来一直困扰着科学家。
Aseel AlYaqoub’s Weird Life: An ode to desert varnish is inspired by the ‘desert varnish’ that naturally appears in landscapes like AlUla’s, evolving into a luminous veneer with yellow, orange, red and black, and bemusing scientists for centuries.
▽怪异生命 – 沙漠清漆颂歌 Weird Life – An ode to desert varnish
Ayman Yossri Daydban 用 AlUla 社区从山谷中收集的白色石头和岩石在地面上勾勒出了足球场的轮廓。该“足球场”艺术作品位于偏远的岩石地区，是一个神秘而可疑的存在，引发了人对于足球的集体记忆与其社会作用的思考。
Ayman Yossri Daydban draws the contours of a football pitch with white stones and rocks gathered by the AlUla community from across the valley. Placed in a remote, rocky area, the football field is a mysterious and suspicious presence, provoking collective memory and considering the social role of football.
▽足球场形状的岩石花园 A rock garden in the shape of a full-sized soccer field
Bosco Sodi 在该艺术作品中收集了各地的火山石。它们被包裹在金色的外衣中，被放置在高耸于沙漠的岩壁上，吸引着观者的目光，让他们去欣赏岩层中已经存在的美丽的有机结构与形态。
For When I saw my reflection, Bosco Sodi gathered volcanic rocks from across the landscape. Wrapped in gold, they have been placed in rock faces that tower above the desert to draw the viewer’s eyes to the beautiful organic formations and accidents that already exist in the rock formations.
▽ 当我看到自己的倒影 When I saw my reflection
在该艺术作品中，来自 Harrat al Sham 玄武岩高原的石头经过打磨，拥有了反光的一面。太阳是该作品中不可或缺的元素，它通过阳光的折射而被激活，产生闪烁的瞬间，反映出沙漠景观的无常以及创造它的自然力量。
In Caline Aoun’s The Desert Has No Surface, stones from the basalt plateau of Harrat al Sham are polished on one side. The sun is an essential element in Aoun’s work which is activated through the refraction of sunlight producing moments of shimmering that reflect the impermanence of the desert landscape and the natural forces that created it.
▽ 沙漠没有表面 The Desert Has No Surface
在该作品中,艺术家 Faisal Samra 向我们展示了 Wadi AlFann 山谷是如何从一条古老的裂缝中发源的，揭示了在漫长岁月中形成壮观景象的微小力量。由岩石碎片组成的线条象征着时间的幻觉。
In The Dot, Faisal Samra shows how the Wadi AlFann valley originated from an ancient crack, revealing the small forces that shape grandeur over epochs. The illusion of time is symbolized by a line composed of rock fragments.
▽ 源点 The Dot
该高架阴影走道的灵感来源于前伊斯兰教时期关于精灵居住在沙漠中的信仰，它采用钢网结构，形成了一条巨大的起伏的黑蛇。
Inspired by pre-Islamic beliefs of jinn inhabiting the desert, Filwa Nazer’s elevated walkway of Preserving Shadows is structured using steel mesh to form a massive, undulating black snake.
▽ 留存阴影 Preserving Shadows
该艺术作品探索了所有生命的循环本质。树干化石在生物体和矿物质状态之间徘徊，鼓励参观者思考随着时间的推移而发生的变化。
Giuseppe Penone’s The Logic of the Vegetal – Metamorphosis explores the cyclical nature of all life. Fossilized tree trunks hover between living organism and mineral state, encouraging visitors to reflect on the transformations that occur over time.
▽ 植物的逻辑——蜕变 The Logic of the Vegetal – Metamorphosis
Ibrahim Mahama 的陶罐由容器组成，散落在景观中，暗示着从历史遗迹中诞生的新生态系统。该艺术家的作品在本次艺术展（Desert X AlUla）的三个地点都能欣赏到。
Also composed of vessels, Ibrahim Mahama’s terracotta pots are scattered across the landscape, suggesting new ecosystems emerging from the relics of history. Mahama’s works can be viewed across Desert X AlUla’s three sites including Dung Bara – The Rider Does No in Wadi AlFann, Hanging Garden at AlManshiyah Plaza and Gabli Din Pali – A Full Gourd Does Not Rattle; It Is Only a Partially Filled Gourd Which Rattles on Harrat Uwayrid.
▽ 满壶全不响，半壶响叮当 Gabli Din Pali – A Full Gourd Does Not Rattle_ It Is Only a Partially Filled Gourd Which Rattles
▽ 地面滚烫，行者并不知道 Dung Bara – The Rider Does Not Know the Ground Is Hot
▽ 悬空花园 Hanging Garden
该作品中露出了多个玻璃瓶的瓶颈，当这些瓶颈迎风张开时会发出呼啸声。由此产生的萦绕耳边的声音促使参观者思考我们每个人对地球的关注。
Necks of glass bottles emerge from Kader Attia’s sculptures in Whistleblower, which whistle when open to the wind. The haunting sound that results encourages viewers to reflect on the concern we should all have for Earth.
▽ 吹哨人/告密者 Whistleblower
艺术家 Karola Braga 参考了 AlUla 的香道上遗产，利用气味再现了古代贸易的感官世界。她的艺术作品“Sfumato”让参与者沉浸在朦胧的乳香和没药植物的香味中，让他们在独特的沉浸式体验中重新认识这条香道上的嗅觉遗产。
Drawing on AlUla’s legacy on the Incense Route, Karola Braga uses scent to recreate the sensory world of ancient trade. Her structure, Sfumato, engulfs participants in hazy frankincense and myrrh, inviting visitors to reconnect with the olfactory heritage of the route in a unique and immersive encounter.
▽ Sfumato
当我们进入 Kimsooja 作品的圆柱形空间时，在五彩缤纷的墙壁之间，参观者将被吸引到一个螺旋形的中心。该艺术作品的彩色墙壁将历经漫长岁月的光线提炼成棱镜，在参观者和景观之间翩翩舞动。
As we enter the cylindrical form of Kimsooja’s work, between iridescent walls, visitors are drawn in and out to the center of a spiral. The chromatic walls of To Breathe – AlUla distils light that has travelled aeons into prisms that dance across the visitor and the landscape.
▽ 呼吸-AlUla To Breathe
该作品被精心制作成一个巨大的形状，与 20 世纪 30 年代令沙漠居民困惑的神秘物体相呼应。该作品唤起了一种对于宇宙的民俗叙事：一个空旷地带的社区在发现这些“珍珠”后，相信它们来自外星。
Elaborated into massive, outsized forms, Monira Al Qadiri’s W.A.B.A.R. echoes mysterious objects that perplexed inhabitants of the desert in the 1930s. The work summons a cosmic folk narrative where upon discovering the pearls, a community in the Empty Quarter believed they had an extraterrestrial origin.
▽ W.A.B.A.R.
该装置艺术作品着重体现了该地区的传统工艺，用夯土罐建造了一个庇护塔。塔中的罐子被命名为“Reveries”，每个罐子上都带有几何形的切口，让自然和光线在罐子中移动并投射出不断变化的图案。
Rana Haddad and Pascal Hachem’s installation focuses on honouring the traditional crafts of the region, creating a refuge made from rammed earth jars. Dubbed Reveries, each jar in the tower bears geometric cuts, allowing nature and light to shift and cast ever-evolving patterns within.
▽ 遐想 Reveries
该作品位于山谷的一个凹处，其 5 个雕塑造型讲述了金星（其英文名称源自罗马神话的爱与美的女神维纳斯 Venus）的故事。当参观者通过故事与每一件作品接触时，他们会沉浸在古老的视角以及与天体之间不断变化的关系中。
Rand Abdul Jabbar’s Where myths are born of mud and desire, is situated in an alcove in the mountain valley, its five sculptural forms telling the story of Venus. While encountering each piece through the story, the visitor becomes immersed in ancient perspectives and shifting relations to the celestial.
▽ 神话诞生于泥泞和欲望之中 Where myths are born of mud and desire
艺术家 Sara Alissa 和 Nojoud Alsudairi 在其作品中，将景观变成了一种自我反思的安排。作品通过不同的视角和方法，旨在重塑观众对该地生态过渡和自然地理的理解。
Sara Alissa and Nojoud Alsudairi turn the landscape into a self-reflective arrangement in Invisible Possibilities: When the Earth Began to Look at Itself. Through different viewpoints and approaches, the work aims to reshape viewers’ understanding of the site’s ecological transition and its physical geographies.
▽ 看不见的可能：当地球开始审视自己 Invisible Possibilities_ When the Earth Began to Look at Itself
“ 一场以沙漠为灵感的策展。”
审稿编辑：SIM
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