Hu Wei\uff1aThe Screen \u2014 Unfinale<\/p>\n\n\n\n
Long Space presents the works of the artist Hu Wei in the second edition of \"Stairwell Video Project.\" Three works are played on the TV screens in the stairwell and small room: Hard Heart, The World of the Hard and the Soft and Long Time between Sunsets and Underground Waves. Two other works, A Proposal for Public Assembly \/ Encounter and The Rumbling, will be projected on the sharing night, where the artist will also be present to engage with the audience in a discussion. The project is titled The Screen \u2014 Unfinale.<\/p>\n\n\n\n
Screen \"Juicer\"<\/strong><\/p>\n\n\n\n Hu Wei\u2019s video works consist of multiple elements: speech and text, sound and archives, images and objects\u2014these elements support each other in his works. For this exhibition, Hu Wei abandons his expertise in video space installations and accepts the condition of showing the works on a single screen. At a group exhibition at PS1 in New York, Matthew Barney\u2019s The Cremaster Cycle, one of his iconic works, was shown on a 14-inch TV screen. The grandeur of the video piece was ruthlessly drained, and its artistic value diminished to almost nothing. However, Hu Wei's works in Long Space do not face this issue. \u201cThe Screen\u201d format will undoubtedly highlight Hu Wei's identity as a writer and encourage the audience to listen and read his visuals.<\/p>\n\n\n\n Walking with Nothing<\/strong><\/p>\n\n\n\n In the 1960s, Richard Long began walking and brought back stones from the wild to display in galleries. In 2014, Hu Wei and a foreign friend, with an unusual eye for detail, managed to find a desolate land through Google Maps in the hazy air of Beijing. They traversed the urban and rural areas of the city on foot. Their walking in the video is neither spectacular nor exciting, even dull at times. But upon reaching their destination, the real performance begins. Faced with a second-hand natural environment\u2014a quarry filled with entropy\u2014they create makeshift \"instruments\" on-site and make harsh noises while overlooking the debris site. The noise complements the shocking scene, amplifying the entropy or perhaps counteracting it. With no live audience, the performance becomes the catalyst for the noise's reverberation through the valley, passing through the video to an expanding audience in the future. The result of their walk was nothing\u2014this is their achievement.<\/p>\n\n\n\n Who is the Island Owner?<\/strong><\/p>\n\n\n\n The modern island owner is a strange existence. He\/she does not necessarily live on the island but can reside anywhere in the world, even in prison, like the infamous Jeffrey Epstein. In Hu Wei's work The Rumbling, the island owner could be the British Hong Kong government. In another piece, Long Time between Sunsets and Underground Waves, the island owner is an invisible figure mentioned only by the local narrator. In this work, Hu Wei imagines a spirit on the island who takes the forms of fish, trees, and water. Like the island owner, she understands everything that happens on the island and narrates the island's past and present in the local language. The narrative, woven with the narrator\u2019s voice, creates a quiet scene. As the writer of these two pieces, Hu Wei is the island owner of his visual works and shares the fruits of his island with the audiences.<\/p>\n\n\n\n Everyone Walking is a Comrade<\/strong><\/p>\n\n\n\n The past was always beautiful and leisurely, even struggles were closely tied with grand passions. The square is the container for these two opposing emotions. The setting in Hu Wei\u2019s A Proposal for Public Assembly \/ Encounter is ambiguous, even reversed, but the event feels incredibly close, the atmosphere somewhat familiar. Comrades are a species born out of similar social systems, connected and gathered together. To the square they go, to become better people beneath statues of great leaders; at the monument, they march together with a unified posture, heading toward the future, the linear utopia. The continuous, rapid, one-directional movement is unscientific, and the counterforce pushes them back to the square, knocking down the idols and obelisks. When it's time to stop and catch a breath, it's time to go for food. After eating and drinking, they walk in the square\u2014because they are all comrades.<\/p>\n\n\n\n The Ultimate Badass Finale<\/strong><\/p>\n\n\n\n In Hu Wei's The World of the Hard and the Soft, Mr. Li, the incredible boss, leads 6,400 employees and spends 13 million euros to allow his employees to travel freely in France. They create the world\u2019s longest human sentence on the streets to promote the greatness of their company. This grand feat occurred in 2015 and may have been inspired by extraordinary artistic energy and influence. Going back to 2007, the artist Weiwei funded and led 1,000 volunteers to Kassel, Germany, where the Chinese walked around the 12th Documenta exhibition with standardized luggage. Mr. Li and Mr. Ai, one created a \u201cmyth,\u201d and the other produced a \u201cfairy tale.\u201d They are the portly Moses figures. When asked if Hu Wei agreed to use \"The Ultimate Badass Finale\" as the title for this exhibition, he\u00a0replied, \"Badass is not my style.\"<\/p>\n\n\n\n Exhibition\uff5cGuangzhou LongSpace<\/p>\n\n\n\n 2025.10.11-12.7<\/p>","protected":false},"excerpt":{"rendered":" \u80e1\u4f1f\u4f7f\u7528\u5f71\u50cf\u3001\u88c5\u7f6e\u3001\u5370\u5237\u56fe\u50cf\u3001\u7ed8\u753b\u548c\u8868\u6f14\u7b49\u591a\u5a92\u4ecb\u8fdb\u884c\u521b\u4f5c\u3002\u80e1\u4f1f\u7684\u521b\u4f5c\u5e38\u4ece\u5730\u65b9\u6027\u7684\u5fae\u89c2\u548c\u201c\u6d88\u97f3\u201d\u7684\u5386\u53f2\u6216\u6587\u732e\u6863\u6848\u51fa\u53d1\uff0c\u4ee5\u7535\u5f71\u6846\u67b6\u4f5c\u4e3a\u65b9\u6cd5\u5904\u7406\u5e76\u53cd\u601d\u793e\u4f1a\u3001\u6587\u5316\u53ca\u5386\u53f2\u7684(\u8d85)\u4e2a\u4eba\u53d9\u4e8b\u5efa\u6784\u81ea\u6211\u7ecf\u9a8c\u7684\u65b9\u5f0f\u3002\u4ed6\u7684\u5de5\u4f5c\u901a\u8fc7\u8c03\u7814\u3001\u8f6c\u8bd1\u548c \u60f3\u8c61\u5c55\u5f00\u5e76\u7ed3\u5408\u79fb\u52a8\u5f71\u50cf\u548c\u6563\u6587\u7f8e\u5b66\uff0c\u63a2\u7d22\u827a\u672f\u4e0e\u73b0\u5b9e\u7684\u591a\u5b54\u7684\u3001\u601d\u8fa8\u6027\u7684\u8054\u7cfb\uff0c\u60c5\u52a8\u53ca\u4ef7\u503c\u5224\u65ad\u5728\u4e0d\u540c\u653f\u6cbb\u7ecf\u6d4e\u73af\u5883\u4e2d\u7684\u4e0d\u7a33\u5b9a\u5173\u7cfb\u3002<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2060","post","type-post","status-publish","format-standard","hentry","category-news"],"blocksy_meta":[],"acf":[],"_links":{"self":[{"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/posts\/2060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/comments?post=2060"}],"version-history":[{"count":6,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/posts\/2060\/revisions"}],"predecessor-version":[{"id":2164,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/posts\/2060\/revisions\/2164"}],"wp:attachment":[{"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/media?parent=2060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/categories?post=2060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/longartspace.com\/en\/wp-json\/wp\/v2\/tags?post=2060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}