No Sunrise No Sunset is a spellbinding pavilion installation created by Kamin Lertchaiprasert, a Thai artist whose works are included, for example, in the Guggenheim collection. To create the pavilion for Thailand’s first Art Biennale held in Krabi he collaborated with architect Suriya Umpansiriratana of Bangkok-based Walllasia Ltd.

没有日出没有日落是一个迷人的展馆安装由KaminLertchaiprasert，一个泰国艺术家，他的作品包括，例如，在古根海姆收藏。为了创造泰国第一次艺术双年展的展馆，他与曼谷瓦拉西亚有限公司的建筑师Suriya Umpansiriratana合作。

The Krabi province consists of a group of 80 islands known for their exceptional natural beauty. The Biennale’s theme, “Edge of the Wonderland”, required that all artworks were created for the location to highlight the rich nature and cultural context of Krabi.

克拉比省由一组80个岛屿组成，因其特殊的自然美而闻名。双年展的主题是“奇境”，要求为该地点创造所有艺术品，以突出克拉比的丰富自然和文化语境。

The mirror-walled 50 square-metre (538 sq.-ft.) rectangular box that Lertchaiprasert and Umpansiriratana call a cave is located by the Andaman Sea at the end of Ao Nang Beach where local lovers often watch the sunset.

镜子墙50平方米（538平方米-英尺。)LerchaPrasert和UmPansiriratana称之为洞穴的长方形盒子位于澳新海滩末端的安达曼海，在那里，当地的爱好者经常观察日落。

The artist considers art as a ritualistic practice to achieve a greater understanding of oneself, nature and the world as a whole. In an interview about No Sunrise No Sunset, the artist has said that the work is not really site-specific but more “life-specific.” He says the work can be installed anywhere because “the sun doesn’t move, but the world is spinning by itself.”

艺术家认为艺术是一种仪式实践，以实现更好地了解自己，自然和整个世界。在接受“无日出无日落”的采访时，这位艺术家说，这幅作品并不是真正针对具体地点，而是更“特定于生活”。他说，这项工作可以安装在任何地方，因为“太阳不会移动，但世界在自行旋转。”

The box’s exterior walls are covered in mirror which makes the entire piece thoroughly enticing, even without the captivating story unfolding inside. The mirrors recreate and transform the box by reflecting the surroundings in a constant, never-ending shift of serene and beautiful images as the sun rises and sets and the clouds come and go. But the cave also creates an eerily exposed and disorientated sensation and forces the visitor to be extra careful stepping on the low concrete steps that lead into the cave.

盒子的外墙覆盖着镜子，这使得整个作品非常诱人，即使里面没有引人入胜的故事。当太阳升起、落下、云朵来去时，镜子通过不断地、永无止境的宁静和美丽的影像反射周围的环境，从而重新创造和改造这个盒子。但是洞穴也会产生一种怪异的暴露和迷失方向的感觉，迫使游客格外小心地踏上通向洞穴的低水泥台阶。

Inside, a love story unfolds. The artist imagined a love story of Yai Sa and Mr. Krabi and illustrated the inner walls of the cave with modern love-related graffiti. According to Thai tradition a man needs to be ordained at the age of 25 before he can get married. In this story, Mr. Krabi leaves town to seek the truth of dharma. It seems that he never returned as the elderly Yai Sa still waits for him on the beach. She is represented by a fiberglass figure standing in a pond with the sea behind her. She is a symbol of love and waiting.

在里面，一个爱情故事展开。艺术家设想了一个爱情故事，即YaiSA和Krabi先生，并利用现代爱情相关的涂鸦对洞穴的内壁进行了说明。根据泰国传统，男人需要在25岁前被任命，然后才能结婚。在这个故事里，Krabi先生离开小镇去寻找达摩的真相。似乎他从来没有回来，因为老伊莱莎仍在等待他在海滩上。她的代表是一个玻璃纤维人物，站在池塘里，身后有大海。她是爱和等待的象征。

We love the ethereal, otherworldly and experiential feeling the pavilion evokes through its refreshingly analog means. No screens, no AI or VR and yet we are transported and inspired. Tuija Seipell

我们爱的是Ethereal，其他世俗的和体验的感觉，亭子唤起了它的清新的模拟手段。没有屏幕，没有AI或VR，但我们被运输和启发。TuijaSeipell

Photo credits: Spaceshift Studio/ Pirak Anurakyawachon

照片学分： Spaceshift Studio/Pirak Anurakyawachon