Written by Anders Koch Madsen, volunteer at Roskilde Festivals Mediehus

Have you seen Claudia Comtes’ tribute to communities and connections? Or EAHR/Log Ladies’ wavy Climate Pavilion? Are you looking forward to seeing graffiti artist ASBESTOS’ enormous wall painting on the façade of Food Court, Sahir Jamili’s neon green chandelier of hair, or Nanna Lysholt Hansen’s mysterious moon god in Gloria’s Foyer?

We give you a sneak-peek to some of the art experiences that you can let yourself be excited by at the festival site as well as the camping areas.

Photo: Rasmus Kongsgaard

Photo: Rasmus Kongsgaard

Stepping into Gloria’s foyer at the festival site, you will immediately be captured by an imaginative universe. Your eyes will catch the visual artist Sahar Jamili’s sensational chandelier, which on a background of draped, purple fabric, massively lights up the ceiling.

Structured of metal rings in different sizes, long hair enlightened by the color green moves gently in the wind as the sculpture sucks your eyes upwards.

In Azerbaijan where Sahar Jamili has her roots, the chandelier is a symbol of status, and the sculpture becomes a symbol of an identity composed by fragments of different cultures.

Watching over Gloria's foyer is also the Sumerian moon god Ningul in the form of a mysterious, human-sized sculpture created in wood by visual artist Nanna Lysholt Hansen.

In the Sumerian myths, Ningul is the mother of the warlike love god Inanna, and together with the Nanna Lysholt Hansen’s performance on Friday in Gloria, the sculpture of Ningul is a tribute to the feminine and the care for environment.

Photo: Rasmus Kongsgaard

Photo: Rasmus Kongsgaard

Leaving Gloria's darkness and looking to the left towards the façade of the Food Court, you can experience the renowned, Irish street artist ASBESTO's enormous mural "I Beat My Self Up". In the painting, a masked figure with hands covered by symbols and figures hugs a baseball bat with the inscription "I Beat Myself Up".

ASBESTOS hereby tries to focus on mental health and create awareness about the fragility we all know and experience, even though we may appear strong.

Photo: Rasmus Kongsgaard

Photo: Rasmus Kongsgaard

Photo: Rasmus Kongsgaard

If you leave the festival site and move from the Arena towards Camping East, you can not fail to discover Claudia Comte's giant sculpture ME WE.

In the distance, the giant wooden letters tower up on top of a hill like a massive monument. As you get closer, however, you quickly discover that ME WE is not just a monument that stands in solitary majesty. It is a gathering point and meeting place for the festival's guests.

At the foot of the monument as well as on top, you’ll find a myriad of festival guests chatting, laughing, or enjoying the impressive view of the festival site and Katarina Grosse's colorful dance floor. You might even see some of the festival participants sliding playfully down the hill. There is no doubt that ME WE is all about communities.

Photo: Kim Bech

If you move from East to West, you’ll find the festival's unique climate pavilion in the camping area F close to the Countdown stage. The untraditional pavilion, developed in collaboration between Emergency Architecture & Human Rights (EAHR) and the queer construction cooperative Log Ladies, has no central stage or roof.

Instead, it winds itself in an organic and undulating structure of sustainable wood that also shoots in height, creating space for play, sharing of ideas, and mutual learning through workshops, debates and conversation.

Photo: Rasmus Kongsgaard