柳浪闻莺艺术驻留（OSWAR）第七组：胡伟

杭州因水而生，西湖与河港水系交织。园林、堤岸与市井空间彼此渗透，使这座城市既像一座被营造出的山水景观，也在日常生活中不断生长出松动而流动的边界。胡伟的驻留于2026年3月10日在啥空间ScheinSpace（杭州爱莲街38号）开始，为期一个月。驻留期间将陆续开展分享会、开放工作室等活动，敬请期待。

“

想来上一次去杭州还是十七年前。

如今再回想竟已没有任何具体的印象，只残留下一种整日被细雨包围的体感记忆。后来偶然翻到一本日印版的审安老人《茶具图赞》，书中用拟人的方法将茶具与宋代十二种官职一一对应编排，器物的质地与形制描绘得也算惟妙惟肖。那种介于市井技艺与文人趣味间的气息是否也只存在于我这个北方人的想象之中了？

《茶具图赞·石转运》

一些商品化却无法被完全规范的空间，与那些已经被精心规范过的自然——整个城仿佛一座被“造”出来、却没有隔墙的园林：清晰与不清晰的，理性与感性的，被设计过的与未经设计的，建筑与非建筑的，相互交织在一起。那些不清晰的部分，缺乏确定形态的，模糊的、流动的、不断流通的，像水系一样。

与以往习惯带着某个明确的“问题”进入到现场不同，这一次在杭州的停留，我更希望把感知与游荡作为工作和互动的起点，也作为一种理解过去如何在当下留下影子的方式。

”

 地图绘制时间乾隆四十年至嘉庆十四年（1775–1809）

The last time I visited Hangzhou must have been seventeen years ago.

Looking back now, almost no concrete memories remain—only a lingering bodily sensation of being surrounded by fine rain day after day. Later, I happened to come across a Japanese-printed edition of Illustrated Praise of Tea Utensils by the Song dynasty writer Shen’an Laoren. In the book, tea utensils are anthropomorphically paired with twelve official ranks from the Song dynasty, each object described with vivid attention to its material texture and form. I sometimes wonder whether that atmosphere—hovering somewhere between vernacular craft and literati sensibility—exists only in the imagination of someone like me, who grew up in the north.

Spaces that have been commercialized yet resist complete standardization coexist with forms of nature that have already been carefully regulated. Taken together, the city seems almost like a garden that has been continuously “constructed,” yet without walls: the clear and the indistinct, the rational and the intuitive, the designed and the undesigned, architecture and the non-architectural, all intertwined. The indistinct parts—those without fixed forms, blurred, shifting, and circulating—feel almost like a system of waterways. 

Unlike previous projects in which I usually arrived on site with a clearly defined “question,” this time I hope to let perception and wandering become the starting point for working and interacting in Hangzhou. Perhaps it can also become a way of sensing how traces of the past continue to cast their shadows into the present.

胡伟, 艺术家, 工作生活于北京。本科毕业于中央美院油画系，2016 年研究生毕业于荷兰艺术研究所（Dutch Art Institute）。他使用影像、装置、 印刷图像、绘画和表演等多媒介进行创作。胡伟的创作常从地方性的微观和“消音”的历史或文献档案出发，以电影框架作为方法处理并反思社会、文化及历史的（超）个人叙事建构自我经验的方式。他的工作通过调研、转译和想象展开并结合移动影像和散文美学，探索艺术与现实的多孔的、思辨性的联系，情动及价值判断在不同政治经济环境中的不稳定关系。

Hu Wei lives and works in Beijing, graduated from CAFA and obtained an MA at Dutch Art Institute (DAI) in NL. He works in a variety of media, including film making, installation, printed images, performance and drawing. Hu’s interest often begins from "silenced" and local microhistories or archives, using the cinematic frame as a means to process and reflect on the ways in which (trans)personal narratives of social, cultural and historical belonging structure our experiences. His work unfolds through research, translation, and imagination, combining moving images and essayistic aesthetics to explore the porous and speculative connections between art and reality, as well as the precarious relationship between affect and value judgments in different political and economic contexts.

柳浪闻莺艺术驻留项目（OSWAR）于2024年由啥空间（Schein Space）发起，选择在一个开放式的空间展开——这里没有高墙与围栏，而是一扇可以推开的门，一个临湖、临柳、临宅、临声的流动性所在。在驻留项目的实践中，我们尝试探索一种不依赖展览中心逻辑的工作方式，转向更“透明的、不确定的、协作的”创作状态——这不只是艺术家的自我表达，更是一种与环境、人群和日常发生关系的过程。我们鼓励和支持艺术家在驻留期间进行创作、交流、参与、公开，我们扎根杭州，希望能为杭州的艺术生态提供氧气。