The Unfinished Film, which moves between retrospection and imagination, text and moving image, is made in a form of meta- cinema and also an attempt to rematerialize cinema and cinematic apparatus. During a research trip to Tehran, the artist and his collaborator revisited the “street of cinemas” burned during the 1979 Islamic Revolution. They treat pre-revolutionary Iranian cinema and cinema venues as a lens through which to analyze geopolitics and oil politics. Writings, archives, moving images, film footage, and sound are interspersed in a narrative structure of truth and fiction that reveals the “silent” manipulation of history and the state of Iranian society in the post-revolutionary period. The entanglement between war, desire and materials points to an man-made apocalyptic “Paradise Lost”, while asking the viewer at what level the radical revolution continues to radiate historically into the present. 

這部遊走於回溯和想像，文字和移動影像之間的創作是基於電影的電影，也是將電影和電影裝置(apparatus)再物質化的嘗試。在一次去德黑蘭的 考察中，藝術家和共同寫作者重訪了在 1979 年伊朗伊斯蘭革命中被焚燒的電影院“一條街”，他們把革命前的伊朗電影和電影院場所作為分析地緣 政治和石油政治的透鏡。文字、檔案、移動影像、電影素材和聲音被穿插在真實與虛構的敘述結構中，展現了 “無聲的” 歷史操縱以及後革命時期 伊朗社會狀態。戰爭、慾望與物質之間的糾纏指向一種人造的末世“失樂園”，同時也從歷史層面向觀眾問詢激進革命在哪些層面正在向當下擴散。

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.