The initial inspiration for Zuult came from a traditional Mongolian story. A herd, fleeing drought, moves away from its homeland and settles in a more lush area. But no one seems to care about the population there, and a flock of geese violently attacks them. A lone white mare, who is shown to be wise and respectful, is saved, along with her foal, and together they return to their land of origin. History teaches us how important it is to respect others and how much each one of us belongs, for better or for worse, to the land from which we come. Paying tribute to the mare, during a residency in the village, the artist used unfired clay to create several equine sculptures with a grey livery, in an almost life-size scale. The sculptures were destined to disappear and return to be part of the land and its natural cycles. Conceptually, Zuult aims at welding together the three towns of Lentiai, Mel and Trichiana, which have now been joined together for about a year and a half to form the municipality of Borgo Valbelluna. To this end, the sculptures are spread throughout the territory. The artist made this decision during his residency, after deep exploration of the area.

Bekhbaatar Enkhtur (Ulaanbaatar, 1994) investigated space through sound, a fundamental aspect of his artistic research, along with natural elements. The latter was pivotal to the work the artist created during the “Daily Practice” exhibition at the Oratory of San Sebastiano in Forlì, where he combined clay, an inorganic material, with leaves, an organic material, creating seven deer (the work is titled “Cervi”).