But heard, half-heard is in still-image and video. The main narration follows a young woman’s diary spanning three years, telling how she went from technical school to the mines and then arrived in Wuhan to work at WISCO, as well as writing down her personal memories of how she met a man and became a partner three years later. Following the telling of the diary, one screen of scenes of WISCO fad away as the ferry departs, and another screen of old photographs of the construction of WISCO during the 1958 period. both intertwining to reconstruct reality and memory that perhaps existed but was never spoken of.

Between the sound of the trumpet about to set sail and the anticipation of the journey of an imminent arrival, the people arriving from afar, the steel mill built up and the river that seems to have never changed, the slowly drifting sandbar, is echoing each other, waiting to meet.

《聽到，隱隱約約地聽到》由靜幀照片和錄影組成。旁白主線以一位年輕女性跨時三年的日記為線索，道出如何從技校到礦山而後又到達武漢進入武鋼工作的經歷，同時也記下了她如何相識了一位男性到三年後成為伴侶的私人記憶。 伴隨著日記的講述，一個屏幕中是隨著輪渡的駛去而漸漸遠離的武鋼場景，另一個屏幕則是1958年時期武鋼建設的老照片，兩者交織重構著某種或許存在但從未被說出的現實。

在即將起航的汽笛聲與即將抵達的期盼之間，從遠處到來的人、建設中的鋼廠與似乎從未改變的江面、慢慢漂移的沙洲相互照應，等待相遇。

Han Qian was born in Wuhan, China and now lives and works in Wuhan. She received her B.A in Accademia di belle arti di Roma, Italy and M.A in École Nationale Supérieure des Beaux-arts de Paris, Paris, France. Han Qian’s articles have appeared in LEAP, Boyan Art, Jiazazhi, Special edition Project, ARTBBS, AnayaPost, and other media. Participated in the 2022 residency program at Goethe-Institut Beijing in collaboration with Cache Space; has given lectures and screenings for schools and institutions such as Guangzhou Academy of Fine Arts, Goethe-Institut Beijing, He Art Museum, West Bund Museum; Jiazazhi; shortlisted for the 2022 OCAT Research-Based Curatorial Project in Beijing.

Han Qian’s work as well as reflecting on individual perception and identity memory through multiple times and the threads of history. Attempting to present her creative projects as a constant journey between the past and the present, searching for the possibility of symbiosis and dialogues with the external world and inner experience. The artist often works with her video through photographs, documents as well as writing, the act of collecting and textual writing is a recurring metaphor in her creative practice, and the search for different perceptions of source time always pulls in her writing. The artist employs various mediums such as video, installation, performance, and text.

Her current work revolves around the context of her three-generational family history, examining the genealogy of natural resources, the political discourses behind this historical narrative, and the fates of the individuals who inhabited it.