手繪農產品，將竹筍，鳳梨和一些在地熟知的蔬菜做得維妙維肖，並且親自在市場擺攤；這是藝術家唐唐發結合行動藝術，展現存在於臺灣常民生活元素的《擺攤計劃》。攤位設置在已熄燈的「崎聚市集」門口，「畫」出一攤好菜；地方耆老前來談天賞菜，喚起了50年前龍崎市場人來人往盛況的回憶。

Art pieces that look exactly like produce such as bamboo shoots, pineapples, and some well-known local vegetables are hand-made and set up by the artist Tang Tang Fa. “Market Vendors Plan” is a project by Tang Tang Fa, who incorporates performance art with the elements of the daily life of Taiwanese. The stall is set in front of the entrance of the Chi-Chu Agriculture Market and attracts the local elders. The scenery of people gathering and appreciating the artwork is reminiscent of the crowded market five decades ago.

階梯與老街是地方發展的劇幕；沒有屋頂的街屋是街區發展的內心戲；雜草覆蓋的柱墩是看戲的特別座。阿嬤阿公是學生探索大地、學習手藝的業師；紀錄地景上的日常，用創意講述空山的日記。透過採集用過之物，一起共作屬於龍崎的地空膠囊；膠囊傳遞空山日常的細節，共構屬於地空的記憶。

Stairs and old streets serve as the stage of the residential development. Houses without roofs are the monologue of the progress of communtiy. The columns with grass creeping on it are the reservation seats for shows. The elders are the teachers of expedition and artifact. By collecting used things, the team and the residents create the time capsules belong to Longci. The time capsules write down the details of daily life on this land and create the memory of “Void Mountain”.

關注日常性的社會現象與文化，思考符號本身與其介面的關係，編碼組構加工材料和紙膠帶，形成具獨特語彙的圖像。《地靈之窗》底層以紙膠帶拼貼出龍崎的美麗風景，上面盤旋著一條飛蛇，圓形的鱗片串連，每一片都是漸變的顏色；光影把大蛇的影子投射在高牆上，形成吞日般的壯闊場面。

Artist Wu Chien-Yi focuses on the daily social phenomena and culture, contemplating the relationship between the symbols and their interface. Coding composed with washi tapes and processing parts forms a image with unique language. Washi tapes layers at the bottom create the gorgeous landscape of Longci, with flying snake hovering on it, whose scales are filled with different color gradations. Shaders cast the shadow of the snake on the high wall, creating eclipse-like magnificent scene.

「群山環繞」，巨大的竹編山脈重現窩鏡窗「七星墜地穴」的壯闊。藝術家辛綺走訪深山，尋找窩鏡窗時看見一片光潔聳立的月世界山坡，環繞似巨碗，以竹織出當時的景色。坡面上裝置無數的光滑曲面鏡，彩光透背而出、亂光鏡射，地脈再現。

Surrounding by enormous mountains that are made of bamboo, the artwork is a recreation of the grand scene of “Where the seven stars fell”. Artist Xin Qi attempts to recreate the scene she saw during the search for “MIRROR WINDOW” Shiny and curved mirrors all over the hillside, varied lights penetrate, roaming and reflecting, and the terrain reappears

給龍崎小朋友們的故事「小白蛇的鱗片」。在山裡有著蛇的部落，長老蛇有著七彩鱗片，身軀繽紛好看；小白蛇卻是一身潔白，於是踏上旅途尋找「彩色鱗片」的秘密。 小白蛇一路上幫助別人，受到幫助的動物們送他七彩的勳章(老鷹送他棕色的羽毛、狐狸送她紅色的毛髮等等)。原來色彩繽紛的鱗片，是樂於助人的獎品，也是努力耕耘的勳章。藝術家帶領小朋友們繪出彩色大蛇帶著夢想鱗片向前爬的形象。

he Scales of the Little White Snake is the tale for children in Longci. Once upon a time, there was a tribe of snake. The elder snakes had gorgeous bodies with colorful scales, while the Little White Snake only had a pure white body. Therefore, it started on its journey of finding the secret behind the “colorful scales.” Throughout the journey, the little white snake keeps helping others and receives colorful medals. It turns out that the colorful scales are the proof and reward of helping others. The artist also known as teacher Shi Shi works with local children's workshops and guides the children to draw their imaginary future themself.

圓圈圈是回收的電風扇外框，繩索是回收塑膠袋製成的繩結，藝術家楊芳宜的「不廢編織」，這次將吊橋化蛇，懸空飛騰。

The circles are the outer frame of recycled electric fans. And the cordages are made of recycled plastic bags. The artist Yang Fang-Yi magically transforms the bridge into a snake soaring in the air by no-waste weaving.

台灣過去使用木工技術製作模具，藝術家林書楷自家族的模具廠傳承了這些大大小小的積木盒子，在山林中「堆疊」出一座新的迷你城市。透過此具有儀式性的創作模式，將自身的創作、夕陽工業以及家庭記憶這三者建構連結並辯證其之間的關係。這樣層層堆疊出來的城市，某種程度上更是反映城市當中人們對於現實和非現實之間的交疊合錯覺。

In Taiwan, we used to apply the woodworking technique to make molds. The artist Lin Shu-Kai comes from a family that has a business in mold manufacturing. He utilizes various sizes of wooden blocks to stack a miniature city. The artwork is a test as well as proof of the connection between his creativity, the sunset industry, and his memory of the family. To some extent, such artwork reflects the overlapping and illusion between reality and non-reality

「大地迴生」分歧路線的選擇，山上是神祕作品《柔軟的纏繞》，山下是溫暖的作品《城市築廊》。 人工的造物「膜」，將大樹和大樹交纏連結在一起。《柔軟的纏繞》講的是生命和生命被綑綁、糾結交織的關係。以軟性的視覺結構傳達隱隱的侵略感，冷光在膜與樹間傳遞，人造物與自然已是捆綁共棲的的生命共同體。

“Ouroboros” divides into two routes: up on the hill is the mysterous《softly twining》, and down beside the hill is the warm《Urban Corridor》 The artificial film tangles the trees together. 《softly twining》 symbolizes how lives bind and intertwine with each other, conveying an obscure sense of aggression with a soft visual structure. The cold light transmits between the film and the tree. The artificial object and nature are already the bound and coexisting life communit

《城市築廊》走廊分為四個階段，代表竹的成長、切枝、剖片、竹編的編制過程。也暗喻著未來城市成長的四個階段，一開始是自然狀態的竹林，而後竹竿象徵電塔連結燈與電力，一座座的竹街道家具座位像是城市的一個個區域，最終是編織在天上的七彩竹球，是未來都會的樣貌。

《Urban corridor》 divides into four stages representing the phase of weaving bamboo which is growing, cut, sliced, and woven. It also implies the four satges of the growth of future cities. Starting with the primitive bamboo forest, and then, bamboo poles are erected representing the pole connecting lights and eletricity. Pieces of bamboo furniture and bamboo streets are similiar to areas in the cities. The colorful bamboo ball up in the firmament in the end stands for the future of metropolis.

怹(ㄊㄢ)是台語的「他們」，「怹食」就是「共食」的概念，是對於文化生命共同體的比喻。「一起吃飯」是團結的象徵，描述了大家共同陷入種種的狀況，或許是危機、也或許是整個文明的進化。藝術家梁賴昌以竹材構築的大蛇,展現出其作為文化群體，吸收了許許多多的知識，本身變的混沌、彷彿被汙染，卻又可能是成長的七彩狀態。 “怹”(tan) means “they” in taiwanese. “怹食”means eating together, which is the metaphor of community of cultural life.

Artists use the word "Gluttonous" to mean "Eating together", a metaphor for the community of cultural life. The concept of "Eating together" symbolizes unity, describing the situations we all fall into, which may be the crises, or the evolution of the whole civilization. Artist Liang Lai-Chang used bamboo to create colossal snake to serve as community of culture. It absorbed piles of information, which made it chaotic like being contaminated. Otherwise, it would transform with flying color after overcoming the proces

《流光樹》是光之生態圈的聚居地、主幹、與根源。在根源的部份有著暖光，代表家庭/團聚的溫暖人際性關係，在外的光樹枝條衍展著許許多多光之生命的輪迴可能。這茁壯的大樹代表著現在，是過去和未來的鏈結。

The forest of flowing light symbolizes the core, stem, and root of the light ecosphere. Right under the roots contain the warm lights, which represents the warm interpersonal relationship of family/reunion. The outside branches stretch out many possible reincarnation of light of life. The sturdy tree represents the present and links between the past and the future.

與在地的大家一起手繪的燈泡瓶，掛在階梯的兩側，承載了小朋友飛出龍崎的夢想，返鄉青年在家鄉貢獻的心意，地方人士們各種各樣的努力、建設、回憶。伴著我們回歸。

The lightbulbs on both sides of the stairs are hand-painted in collaboration with locals. It is a wish that the children's dreams could soaring up to the empyrean. The returning youths dedicate to their hometowns, and the residents contribute their efforts, building, memory to accompany us and wait for our “Return”.