The peaceful atmosphere of this special place in the forest with its soft moss cover and beautiful ferns inspired us to create a nest installation. In the nest you feel safe, protected, you find a home, you find peace. In our work, we make a point of using only the materials we find on site and leaving nature as untouched as possible. After completion, we return our work to the cycle of nature.

With this Land Art concept, we have staged a hotel room - designed from and in the midst of nature. A framed scene invites us to pause and experience the connection between the inside and outside world. The armchair, playfully shaped from wood and lined with soft moss, invites us to linger. The tablecloth is woven from ferns, delicate and lively. A curved branch lamp carries a pitted orange as a light source - a light taken directly from nature. In the background, we discover a curled-up Swiss bear, as if it were a visitor from outside - curious and peaceful. Here we explore the question of how much we take from nature to create our inner living spaces - things that are man-made but inspired by the natural world. This shows how the outside merges with the inside. We have created a living room - with a very special view. With special thanks to the Hotel Kreuz & Post for its support and inspiration.

Just as a river seeks its own path, we all seek and follow our own path in life: hesitant and slow, fast, sweeping and winding, straight ahead and with detours, downhill and uphill, boring and varied. Each person in their own flow.

Life is not always in balance.

Geometric construction, rational-logical thinking.
A metaphor for an evolving idea - an existential path. The idea grows and moves in space: in vertical and horizontal lines, in binary codes - an expression of a dualistic, human thought process.

The location alone determined the topic and form of this work.

At the foot of the cliff, a creature stands on a small elevation. The creature focuses its attention on its surroundings. It looks around. Its dress of ferns refers to the special nature of Grindelwald. Inside the creature is a pile of stones. The creature is ephemeral. In time, only the pile of stones will remain - and new moss will grow over it.

Hidden in the glacier for a long time - could this be the vacation home of the legendary, mysterious spirit? Built from branches, raw and wild - a retreat far away from civilization. A place to rest after all the hard work; on the trail of poachers and keeping order in Grindelwald.

As a contrast to the “Steinmännchen”, “Steinweibchen” are created. A symbol of fraternity, femininity, equality and free space. Bridge and empty space at the same time. Nature as a stage and resonance space. Slowly walking in the forest, looking, arriving, the stream rushing, pausing, breathing, perceiving, the birds chirping, smelling the moss, feeling the stone, weighing, positioning. Make the stones dance. Humbly place the emptiness at the center.

Weaving the World‘s Mane begins with artist Onongua Enkhtur’s ongoing exploration of nature through art. The project evolves through a series of materials and expressions, rooted in an intention to reconnect with the land. «In Grindelwald, nestled in the rich biodiversity of the alpine mountains, we have chosen to work with grass—lush, wild, local, and abundant. The region’s green meadows, mountain flowers, and forested slopes offer not only visual beauty but also a deep sense of harmony with the natural world. We thank Mother Earth for accepting us to collaborate with her through the Grindelwald-Land Art. Weaving, in this context, becomes a simple, instinctive gesture — a symbolic act of connection. It represents a human effort to communicate with nature, to acknowledge its silent rhythms and diverse forms. This act invites reflection on the value of what we often overlook: grasses, leaves, and so-called “insignificant” things that are, in fact, essential to the wholeness of the natural world. For this installation, we have gathered local grasses—green and dried—and woven them into flowing forms, suspended from the trees like a waterfall. In doing so, we honour the unseen threads that hold nature together and celebrate the quiet beauty of the wild.

The “Mountain Jellyfish” installation intervenes in the natural landscape of Grindelwald - a backdrop characterized by mighty mountains and ancient glaciers that once lay beneath the sea. Inspired by this geological memory, the objects are reminiscent of jellyfish that seem to float in the forest, transforming the place into an underwater scene - sea creatures that return for a moment to the place that was once theirs. Made from natural materials from the surrounding area, these airy forms build a bridge between the alpine present and a sunken past. At the same time, the work looks to the future of the landscape and reminds us that the earth is constantly changing. Perhaps the jellyfish will indeed return one day - if the planet's transformations once again pave the way for them.

The 18 pupils in class 6ba from Liestal are currently completing their last year of primary school before moving on to secondary school. On June 16 and 17, 2025, they went on their final trip to Grindelwald. During their stay, they worked together on the creative community object that adorns the tree at the entrance to the Land Art trail. All visitors are now invited to continue shaping the resulting work and make their own contribution to this collaborative nature art object. There are various materials and tools in the two boxes behind the tree - we look forward to your creative contribution! Please note that only materials that can fuse back into nature within a few years may be used (no nails, plastic, paint or similar).

Brigitta Backhaus from Gummersbach, Germany, studied art and German literature. She works with natural materials such as branches and roots, creating sculptural works that resemble nests, vessels, or take on free forms. Since 2015, she has also been creating land art installations that remain in nature and eventually return to the natural cycle.

Inge Lager, born in 1974, began her career as a landscape gardener and discovered her passion for land art through her work in forest education. Today, she focuses on artistic creations using natural materials, forming sculptural and organic shapes inspired by nature.

To the website of Brigitta Bachhaus: www.brigittabackhaus-nurnatur.de
To the website of Inge Lager: www.intotheweave.de

Carla Rump, born in Hilversum and living in Amsterdam, creates monumental sculptures in wood, stone and bronze. Her works combine everyday life and nature, invite interaction and play with space, movement and environmental references.

Daniella Rubinovitz, born in Rotterdam and also working in Amsterdam, works with steel, wood and bronze. Her large-format sculptures combine the everyday with the natural world and emphasize space, paths and movement in public spaces.

To the website of Carla Rump:
www.carlarump.com

To the website of Daniella Rubinovitz:
www.daniellarubinovitz.com

Claudia Morgenthaler (*1985) grew up in a small farming village and knew early on that she wanted to become a florist. After completing her apprenticeship, she went on to earn the Federal Certificate of Competence and the Master Florist Diploma. She describes her style as nature-inspired, intuitive, and seasonal. However, she also knows how to adapt her style when needed—for example, in her floral interpretation for „Flowers for Art“ 2025 at the Kunsthaus Aarau. In addition to her work as a florist and terrace designer, she runs her own flower field in Alchenstorf, BE, where she grows seasonal, pesticide-free flowers.

Providing energetic support is Claudia Rohn (*1979), a trained pastry chef and confectioner, who is accompanying Claudia M. for the second time to the Land Art Week. She lives with her husband and their four teenage children in the beautiful Wasseramt region. Claudia R. is accustomed to finding pragmatic solutions and implementing them skillfully, precisely, and with flexibility.

Heidi Bernet (born 1986, CH) is a trained florist from Grindelwald who spent ten years pursuing her passion for flowers in her own shop. Her love of nature led her to land art, and today, her family is at the center of her life.

Erwin Bernhard (born 1963, CH) is a nurseryman and has been transforming gardens into green oases with his small team for over 30 years. His farm, including a forested area, has become a haven for birds and amphibians thanks to his dedication to flora and fauna.

Together, they have successfully participated in land art festivals in Switzerland and abroad, including in Grindelwald and Montreal.

Francesco Lucatelli, known as Molby, was born in 1977 in Carpineto Romano, Italy. After studying at the Academy of Fine Arts in Rome, he trained in stone ornamentation and focused on anatomical and sculptural proportions. Between 2018 and 2023, he gained experience in sub-Saharan Africa working with natural materials and clay techniques. From 2020 to 2024, he participated in various art competitions and created land art installations, including works near Lugano and for the Sirente-Velino Regional Park in Italy. In 2023, he was artist-in-residence at Ledro LandArt and created Wood Spirit and Rinascita in Trentino.

Susanne Ruoff, born in 1959 in Cologne, studied painting at the Berlin University of the Arts and at the Hertfordshire College of Art and Design in the United Kingdom. A work residency took her to Caracas in 1989/90. Since 1989, her work has been exhibited internationally. A key focus of her artistic practice lies in site-specific installations. Since 2004, she has collaborated artistically with Lothar Zimmermann.

To the website of Susanne Ruoff: www.susanne-ruoff.de

Akunzo’s work consists of ephemeral, site-specific projects that are deeply connected to the location and its environment. Each piece reflects the place and its history, often addressing ecological concerns. Natural materials like branches or soil are commonly used, sometimes combined with artificial elements relevant to the theme. The close relationship between site and artwork is essential—together they form the project and offer the viewer new perspectives and meaning.

Mark and Rebecca Ford weave drawings using found and grown natural materials in the realm of environmental art installation. In 2004 they formed Two Circles Design, a collaborative practice producing monumental woven environments for the public and private sectors.

Visit the website: www.twocircledesign.co.uk

The Land Art artist Mischa (*1956) is participating in the Land Art Festival Grindelwald together with Waltraud Ohrwalder (*1948). Together, they will create self-supporting stone arches from loose stones found in the natural surroundings. These will be floating stones in balance. As a counterpoint to the traditional “Steinmännchen” (little stone men), they will create “Steinweibchen” (little stone women)—symbols of siblinghood, femininity, equality, and open space. These structures act simultaneously as bridges and voids. Nature becomes both a stage and a space of resonance. Visitors are invited to walk slowly through the forest—observe, arrive, listen to the rushing stream, pause, breathe, perceive. Hear the birds chirping, smell the moss, feel the stones, weigh them, position them. The artists aim to make the stones dance—humbly placing emptiness at the center of the experience.

Onongua Enkhtur (*1994), born in Mongolia, has focused on land art and textile art since 2019. Her nomadic lifestyle and deep connection to Mongolian nature and culture strongly influence her work. Using techniques such as knitting, weaving, and mixed media, she addresses the simplicity and the authencity of nomadic philosophy.

Ulziibat Enkhtur is a Mongolian performance artist based in Switzerland. Her work spans dance, singing, visual art, and participatory performances. She is a member of the Neg-Uudel group founded by Onongua and initiated the “Essence Performance Art Project,” which brings intercultural art to remote locations.

Susana Malagón (*1982) is a multidisciplinary artist who studied Fine Arts in Barcelona and continued her training in Athens, Granada, and Peru. She works with various techniques to evoke questions, emotions, or new perspectives in the viewer. She is supported by her husband, Enrique Carro.

The 18 students of class 6ba from Liestal are currently completing their final year of primary school before moving on to secondary school. On June 16 and 17, 2025, they took their graduation trip to Grindelwald. During their stay, they collaborated on a creative community art piece that now decorates the tree at the entrance of the Land Art Trail.

All visitors are warmly invited to continue shaping this evolving artwork and contribute their own part to this collective nature art installation. In the two boxes behind the tree, you’ll find a variety of materials and tools – we look forward to your creative contribution! Please make sure to only use materials that will naturally decompose within a few years (no nails, plastic, paint, or similar).