"Do you know about Eco Art?""No, I don't. I'm not familiar with it.""All right then. We hope you can become a volunteer for our project research."This is the common opening used by Iman Allolah, a young scholar from Erasmus University Rotterdam, in her Eco Art research project that she leads.Just from the word "Eco", it's not hard to guess whether this branch of art is related to environmental protection and the environment. Could it be artworks expressed through some kind of recycled materials or renewable energy? Or perhaps these artworks are calling on people to protect the environment? With these questions in mind, the volunteers invited by the project won't receive any hints before visiting the exhibition. After the visit, they will have an interview to explore the audience's true perception and feelings about Eco Art. Currently, there are three exhibitions with the theme of Eco Art in the Netherlands, and today we will introduce the one at the Delft RADIUS Art Center.

This is actually the city's central water pump station, with a huge circular concrete underground structure, and now that the large pumps of

the industrial era have removed, each ring of this underground structure has become a gallery. A low and persistent white noise spreads from the end of the staircase below, and after pushing aside the curtain, the need a few seconds to adapt to this dim and enclosed space. The red-letter black-background plaque casually leaning against the side records the spirit that this exhibition wants to convey.

Walking further ahead, a large screen surrounded by sand and gravel is nestled against the wall. In front of the screen, two pairs of earphones are casually placed in the sand. I pick up one earphone and shake off the dust. An indescribable sound of sand rubbing against each other gently emanates from the earpiece. This is an experimental video expressing the development of sandcastle coral reefs. In the video, beaches that have been dug into cliffs are interspersed. A large amount of yellow sand is loaded onto trucks and transported to construction sites. The miners have almost reached the limit of what they can dig at the edge. The ecosystem of the Normandy coastline is being affected by human activities. On the concrete slab next to this screen, there is a coral shell that has vanished. When I put down the earphones, I catch a glimpse of a line of small characters on the screen: "Seventy percent of the beach sand in the world is used by people for production and manufacturing."

On the copperplate print, a young man carrying radio wave measurement equipment stands in the rainforest and wetland. The probes are carefully arranged on the vegetation. The author is capturing the sounds among non-human species such as plants and trying to build the possibility of communicating with other species through sound. He hopes to have a system that is not "human-centered", so that radio broadcasting is not only a carrier for spreading human-related content, but also becomes a communication medium in the natural world.

The next piece consists of several green square pedestals, each topped with a neat row of over sixty aerial photographs. It is a camp, how over the the expanse of green has become a deep, dead gray. You can see in the successive photos from year to year how the concrete boundary lines have compressed, squeezed, and the lush green, how the brutal straight lines have pierced the soft, green expanse, how the footsteps of urban expansion have repeatedly stomped on this place. Next to photos are the plant specimens that the botanist here has drawn, the plants that were once here.

A cluster of anthropomorphic bats, made of hand-crafted ceramics and dressed in fabric attire, suddenly appeared behind a few concrete pillars. bat protagonist, named Lucius, sat cross-legged on the gravel, gazing into the distance or staring intently at the two large screens in front of them.

the gaze of the bat figurines, I noticed the screens displaying a documentary filmed in a jungle store. Researchers were observing, capturing, tagging, sampling, and releasing some bats. 2020, bats were once again scapegoated as the culprits of a certain pandemic virus outbreak, a symbol of the vilification of Asian food and demonization of Asians. It became a dangerous and terrifying avatar. This is also closely related to the long-standing symbolism of bats in Western folklore as carriers of and evil. However, in reality, bats have been extensively used in capitalist agricultural production, becoming a cheap labor force to eliminate pests. Turning to look at a bat named Luus, dressed in a plaid suit, sitting next to me, silently "watching" this documentary along with the visitors.

This is the koala reading corner. The work originated from the Australian bushfire in 2020, which was called "Black Summer" burned for a whole year, taking the lives of 434 humans and hundreds of millions of animals. In the investigation after the event, it was found that they were the with the highest survival rate. During the fire, they dug small holes to hide in and welcomed other small animals who came to seek refuge. On the carpet in the work, two animals are leisurely lying on the carpet reading, surrounded by books carefully selected by the author for them, and on the outermost part of the work, there are black fire sculptures