In The Almost Perfect Crime, Hu Wei continues to explore the materials and narratives of “absence” and “silencing”. Through the extraction and fictionalization of a disorienting and reluctantly mentioned political crime (transnational romance) from the last century’s Cold War, the artist invites the viewer to witness the dissociation of an intimate relationship and to become a judge and participant in the overlapping episodes of the work. The work’s investigation of public historical events is transformed into “detective- obsessed curiosity,” narcissistic identification with criminals, and fetishistic pleasure. The law, transgressions, scandals and deceptions involved also become references to contemporary conflicts.

在作品《輕罪》中，胡偉繼續地對“缺席“和”消音“的材料以及敘述進行探索。通過對上世紀冷戰時期一樁迷離的、不願被提及的政治犯罪(跨國戀情)的抽絲剝繭和虛構行為，藝術家邀請觀眾見證一段親密關係的間離過程，並在作品重疊的情節中成為判斷者和參與者。作品對公共歷史事件的調查轉換成了“偵探痴迷的好奇心”、對罪犯的自戀式認同和戀物癖樂趣。其中涉及到的法律、秩序、越軌行為、醜聞和謊言也成為了對當下衝突的指涉。