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。

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.