Long Time between Sunsets and Underground Waves examines the mutual interventions between human activity and nature from the perspective of an island. By adopting a semi-documentary, semi-fictional approach, the work explores the multiple relationships between the island’s economy, geography, and biopolitics. The island seems to be a closed-off, circulatory ecosystem and economy, located not too far offshore from the mainland. The development of tourist infrastructure has just begun, while meanwhile the influence of the tides still imposes limits on people’s daily lives and economic activities. Late at night, the dense forest is haunted by ghosts and apparitions, perhaps because the spirit of the island’s indigenous peoples has not yet dispersed. Under the surface of the sea, legends and superstitious beliefs about mythical creatures and the nomadic Bajau people still circulate–much like the second-generation immigrants residing on the island, lacking clear identities and nationalities, their origins lie far away, in legendary places. Today they are scattered around the Malay Archipelago, searching for a place to live, sometimes far from the mainland or major islands, separated by choice or by force. 

《風下之鄉》從島嶼本體以及非人的視角“洞察”人類活動與自然的彼此干預，並以半紀錄、半虛構的方式探索了島嶼經濟、地理，以及生命政治之間的多重交織關係。這裡似乎是一個閉合、循環的生態系統和經濟體，在離岸並不太遙遠的島嶼上，旅遊業的基建發展剛剛啟動，人的日常和經濟活動還受限於潮汐的影響。密林裡 到了夜晚會出現鬼火和幻象，或許是當年因戰亂被屠殺的居民的靈光還未散盡。海面下仍流傳著水中神獸和巴瑤人流散的迷信與傳說 —— 正如島上那些沒有身 份和國籍的二代移民，大多來自於傳說的發源地。而如今他們四散於馬來的群島間尋求一處棲居地，甚至遠離大陸、分離或被分離。

Hu Wei (b.1989, Dalian, China) lives and works in Beijing, graduated from CAFA and obtained an MA at Dutch Art Institute (DAI) in NL in 2016. He works in a variety of media, including film making, installation, printed images, performance and drawing. His interest often begins with the seemingly unrelated elements between text and visual culture, exploring the multiple, speculative connections between art and reality in relation to both political and formal level through research, “translation” and imagination. His recent practice travels through different geo-contexts and “silencing” histories and materials, investigating the dynamics, fragmentation and synthetic alienation of human, non-human and material in the process of historical and natural transformation. Combined with moving image and essayistic aesthetics, his works also unfold the precarious relationship between invisible labor, affect, and value judgments in different political and economic environments.