On November 28, amid the golden light of autumn in Guangming, the Second Shenzhen Guangming International Public Art Season opened with the exhibition “Being in Nature”.
Unlike a typical grand opening, this unique event unfolded as a gentle invitation to wander through nature—a call for guests and visitors to step out of the urban jungle and return to the park's natural setting.
Throughout the opening day, a series of site-specific artistic narratives took shape, ranging from panel discussions and guided tours to the official inauguration and the unveiling of the Public Art Pavilion. As the day progressed, the intricate relationships between the artworks, architectural space, natural landscape, and public urban life gradually became focused, revealed through conversation, exploration, and contemplation.
Unlike a typical grand opening, this unique event unfolded as a gentle invitation to wander through nature—a call for guests and visitors to step out of the urban jungle and return to the park's natural setting.
Throughout the opening day, a series of site-specific artistic narratives took shape, ranging from panel discussions and guided tours to the official inauguration and the unveiling of the Public Art Pavilion. As the day progressed, the intricate relationships between the artworks, architectural space, natural landscape, and public urban life gradually became focused, revealed through conversation, exploration, and contemplation.
“Speaking of Nature Within Nature” — Opening Academic Forum
On the rooftop terrace of Rixi Pavilion, bathed in warm sunlight and overlooking the expansive greenery of Rainbow Bridge Park, guests and audience members gathered to listen as six distinguished speakers from diverse fields engaged in a cross-disciplinary dialogue.
Architects Liu Heng, Zhang Yuxing, and Han Jing, artists Shen Shaomin, Guan Huaibin, and Shen Lieyi, and renowned urban planner Zhu Rongyuan offered fresh perspectives as they explored themes such as the subtle interventions of art and humility in architecture and urban design. In this setting, which is deeply embedded in nature, they spoke thoughtfully of nature and within nature.
Exhibition curator Shen Shaomin opened by noting that Rixi Pavilion and Moon Courtyard are, in themselves, two of the most significant public art pieces. Therefore, in curating the exhibition, the foremost consideration was to show deep respect for both the architecture and the surrounding natural environment.
Zhang Yuxing reflected on how, in past exhibitions, nature often served merely as the backdrop to art. But today, nature itself takes center stage. He quoted poet Ye Jiaying’s evocative line, “Scooping water, the moon rests in your hand,” to express a profound idea: even in the absence of human presence, nature—and the sun and moon—endure. It is a quiet yet deeply meaningful state of being.
Zhu Rongyuan, speaking from the perspective of urban design, thoughtfully highlighted the connection between “Sun” (Ri) and “Moon” (Yue) and their alignment with the concept of “Guangming” (meaning “light” or “brightness”). He expressed his long-held hope that public art would one day become omnipresent—a natural and integrated part of urban space, which is the ideal cityscape envisioned by a planner.
Architect Liu Heng offered a thought-provoking perspective: she hopes that in the future, the planning of public art can be brought forward and developed in parallel with, or even before, architectural design. In doing so, public art and architecture can mutually enhance one another, ultimately shaping new forms of landscape-oriented artistic spaces for the future.
Architect Han Jing offered a poetic reflection, saying that art is like a beam of light, illuminating the soul of architecture. She described artists as spirits of space, who possess a unique sensitivity to perceive what architecture itself does not explicitly express, and who use art to communicate those unspoken truths to the world.
Exhibiting artist Guan Huaibin shared that his past exhibitions in Shenzhen were usually held in densely urban areas. Still, this time, the Guangming venue felt like a modern-day Peach Blossom Spring—a secluded utopia. He also spoke about his two featured works, Crossing Garden and Light-Sound · Celestial Origin, which explore the dialogue between classical aesthetics and modernist avant-garde thinking.
Shen Lieyi, deeply rooted in the practice and reflection of public art, offered a fresh perspective by describing public art as an art of “compromise.” He emphasized that this compromise is not a negative notion, but rather a process of dialogue and coordination with the environment, the space, and the audience throughout the act of creation.
Forum moderator Shen Shaomin concluded with the reflection:
This dialogue touched upon the core issues at the intersection of public art and architecture: In an age of rapid urbanization, can architecture form an organic symbiosis with nature? And is the artist's role in public space evolving—from that of a creator to that of a coordinator?
The forum offered new dimensions and boundaries for understanding public art, prompting deeper reflection on how public art, architecture, and urban design can generate meaning through their relationships with public space and the natural world.
"Every architect is an artist. For me, there are no boundaries—nor should architects hold such boundaries in their minds."
This dialogue touched upon the core issues at the intersection of public art and architecture: In an age of rapid urbanization, can architecture form an organic symbiosis with nature? And is the artist's role in public space evolving—from that of a creator to that of a coordinator?
The forum offered new dimensions and boundaries for understanding public art, prompting deeper reflection on how public art, architecture, and urban design can generate meaning through their relationships with public space and the natural world.
“Light Within Guangming”
— Opening Ceremony & Speeches
The Shenzhen Guangming International Public Art Season is one of Guangming’s top ten cultural brands, and each annual exhibition leaves a lasting artistic imprint on the district.
In his opening remarks, Wu Zhiwei, Member of the Standing Committee of the Guangming District Party Committee and Head of the Publicity Department, stated:
“Public art is a vivid vehicle of urban culture. The beautiful mountains, rivers, forests, fields, and lakes of Guangming Science City are a shared stage for all artists to present their public art. Guangming District will, as always, support the development of cultural initiatives and public art.”
Following this, curator and artist Shen Shaomin delivered a poetic opening speech, saying:
“Guangming itself is a symbol of hope. May art become the light within Guangming.”
Guests and audience members gathered to witness the official opening of the Second Shenzhen Guangming International Public Art Season – Being in Nature, marking a new chapter in the dialogue between art, nature, and public space.
In his opening remarks, Wu Zhiwei, Member of the Standing Committee of the Guangming District Party Committee and Head of the Publicity Department, stated:
“Public art is a vivid vehicle of urban culture. The beautiful mountains, rivers, forests, fields, and lakes of Guangming Science City are a shared stage for all artists to present their public art. Guangming District will, as always, support the development of cultural initiatives and public art.”
Following this, curator and artist Shen Shaomin delivered a poetic opening speech, saying:
“Guangming itself is a symbol of hope. May art become the light within Guangming.”
Guests and audience members gathered to witness the official opening of the Second Shenzhen Guangming International Public Art Season – Being in Nature, marking a new chapter in the dialogue between art, nature, and public space.
“From Rixi Pavilion to Moon Courtyard” — Artist-Guided Tour
Led by artists Guan Huaibin, Shen Lieyi, and curator Shen Shaomin, guests were guided on a walk from Rixi Pavilion to Moon Courtyard. Along the way, the boundary between the natural and the man-made subtly blurred, as the exhibition path wove the two together. The artworks served as mediators—occupying the space between nature and construction, creating moments of reflection and resonance.
Guan Huaibin
Guan Huaibin’s work deconstructs elements of traditional culture and modes of perception, integrating them into his own visual language and structural framework. Drawing on the aesthetics of classical Chinese garden design, he incorporates these principles into spatial installations that evoke a rich sense of humanistic sentiment and poetic atmosphere. His spatial practice reveals a deep engagement with cultural heritage while reimagining it through contemporary forms.“Light-Sound · Celestial Origin” Series
By Guan Huaibin
“Crossing Garden”
By Guan Huaibin![]()
By Guan Huaibin
Shen Lieyi
“Seesaw” Series
By Shen Lieyi
Shen Lieyi’s Work
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Walking itself becomes a form of narrative, with each artwork gradually revealed along the path—interacting with the environment and engaging in dialogue with the audience. Rather than seeking to dominate the site, each piece adapts to the natural and spatial context, becoming part of a larger ecological narrative.
"Hongqiao Public Art Pavilion"
– An Open Experiment in Spatial Practice
Plaque
- Unveiling Ceremony
The establishment of the Hongqiao Public Art Pavilion represents a concrete expression of Guangming District’s cultural policy, as well as a lasting outcome of the Public Art Season. The pavilion’s official unveiling marks the opening of a new cultural space in Guangming.
Rather than seeking attention through grand scale, the pavilion’s refined architecture and natural presence subtly emphasize a core idea: the public nature of art lies not in visual spectacle, but in its rootedness and integration within the community.
The pavilion itself is an ongoing experiment in the meaning of space—exploring multiple pathways from nature to public engagement, and reflecting on how contemporary public art can move from symbolism to practice, from pure aesthetic function to broader social significance.
Guangming District, as Shenzhen’s emerging ecological landmark, offers a uniquely rich natural environment and cultural vision—providing an ideal context for the Second Shenzhen Guangming International Public Art Season: “Being in Nature.”
Rather than delivering a definitive conclusion, “Being in Nature” proposes a construction of relationships—between people and nature, between the city and art. This very process of building relationships may reflect Guangming’s long-term cultural aspiration: to shape a future grounded in coexistence and dialogue.
With an open and exploratory spirit, the art season raises enduring questions: How can art embed itself within nature? How can the city rediscover a path to dialogue with the natural world? These are not questions posed for quick answers, but for ongoing reflection.
Running over the coming weeks, the season invites more people to enter the space where art and nature meet. And in Guangming, the answers to these questions are slowly beginning to emerge. This is not an exhibition that clamors for immediate attention—but one with the quiet power to resonate and evolve over time.