Ritual is an important object of anthropological research, and it is also important component of exploring cultural memory. Ritual can create experience and is also a structure of experience. Compared with texts, rituals play a more prominent role in cultural inheritance. Texts are often static, while rituals are full of changes, so their role in cultural inheritance is often more plastic. According to Arnold van Gennep, a pioneer of French ethnography, rituals can be divided into "inductive rites" and "contagious rites". Inductive etiquette is associated with animism, and contagious etiquette is with "dynamiste". Van Genep is the interpreter of dynamic theory. The "ritualdynamik" we discuss here is based on an interdisciplinary research project initiated by the University of Heidelberg in Germany. One of the goals of this research program is to lay the foundations for the science of ritual, focusing on the precise determination of the conditions, patterns, and functions of ritual action; Rituals in interdisciplinary fields, and the motivations, manifestations, and forces behind them. With the help of the theme of this research project, we discuss the performance of rituals in current daily life with the help of specific emotional and mental fluctuations generated by rituals; their changes and interactions, as well as the role of culture in shaping them; on the basis of dynamic theory, Discuss the presentation of pan-ritualized elements in the expression of artistic concepts. The ancient drama was closely related to ritual activities, "In Athens, art was born out of ritual, and drama came from acting." (Jane Allen Harrison "Ancient Art and Ritual") Artist Xin Yunpeng's work "Mother" is an attempt to use the language and narrative plot of dramas and movies to be placed in the same frame. "Mother" is presented in the form of a voice-over, the whisper of praying and chanting echoes with the strong wind outside the window, and a tension between religious belief and daily narrative, between ritual and compassion bursts out quietly. Also out of the ritualized performance of the behavior, He Yunchang's "Longevity Fruit" takes the ritualized behavior "bigu" as the main way of presentation, with the help of weakening the body and the ebb and flow of crop growth, a kind of insignificant life in the vast universe. Transformation and reincarnation are clearly revealed. The video record of artist Kang Jing swimming to the other side of Liangzi Island in Hubei with a tree stump on one day in June 2021 can also be seen as a reincarnation of human and natural reference objects echoing each other in the boundless world. The stakes in the artist's hands are like tokens or scepters, or a medium of communication between man and nature, interpreting the primitive impulse behind the ritualized behavior. The public art project "Ohmygod" initiated by Cai Dongdong, through the participation of more than 140 artists and the public, makes the "God" that everyone understands and creates in the space of less than 10 square meters at the entrance of Heiqiao Village. Imagine thousands of ceremonial worship behaviors in the space of the temple. Different from the ritual performance in performance and video records, Cang Xin’s paintings interpret the sounds and vibrations in rituals through "eye perception", continuing the theme of "animism" in his previous works; Yu Xuemin's works The splicing and shifting of images highlight the position of symbols in personal and collective cultural memory; Chen Hongzhi explores the collective impulse and motivation behind ritualized behaviors with his unique painting language; Zong Ning's dramatic photography The work juxtaposes ancient legends and social reality in the same time and space and has the perverse temperament of cult movies and strange novels. The works of Pang Hailong and Xiao Min achieve a ritualized effect through the form and display of the installation and continue the exploration of space and field in a heterogeneous medium and alienated atmosphere. The exhibition consists of 10 artists and projects. Through multi-media and exhibition arrangement, it tries to present and trace the motivation and origin of ritual and art; In the field of exhibitions, returns to the visual and spatial experience of artworks and the basic driving force of artistic creation, so as to understand the true nature of art.

—— Gao Yuan