During the initial phase of curation, we had these themes in mind: Wild Man Theater, Primitive Knowledge, Traces, Ancient Sensations, along with several keywords awaiting to be incorporated: Enigma, Tool Book, and Archaeology. These ideas inspired diverse imagery, forming various “indexes” for the exhibition.

The defining characteristics of Wu Wei’s work include his innovative use of paper, manipulated to mimic the texture of fur, and his bold, highly saturated colors. These vibrant colors resemble untamed creatures, retaining their raw, unbridled nature. In contrast to the subdued desires embodied by muted tones, such as stylish grey or celadon, which signify the restraint of civilization, Wu Wei’s palette delivers a visceral impact, exuding a sense of provocation and aggression.

For Wu Wei, “paper” transcends its traditional association with the literati. It escapes the confines of civilization and is imbued with somatic qualities, akin to skin, hair, or even a sense of “pain” in its perforations. Even the stacked paper has the bulk of an industrial form, waiting for the gentle passage of time to erode it. The being of time imparts an ancient spirit to the material, recalling the traces of civilization - the remnants of prehistoric cave paintings, the scattered teeth among the remains of wild men, or the grooves etched by the weathering of sand and stone.

“Hair” serves as a testament to our incomplete evolution, carrying with it ancient, primal information. When paper is shredded, it transforms into fibers, resembling hair, acquiring the delicate and fragile quality of life. This shift from paper to fiber transforms the visual experience into a tactile one, evoking emotions and memories. Consider the soothing act of petting your cat at night: it brings relaxation as memories of early childhood and ancestral habits are awakened. Your genetic makeup carries the traits that have been passed down through generations: animals rubbing against each other with their fur to express affection and intimacy, or humans being drawn to soft, warm, and cozy clothing made of wool or fur. Yet, we also have an instinctual abjection of hair, associating it with savages, beasts, and monsters. Wu Wei masterfully captures this peculiar and paradoxical psychological reaction.

Wu Wei frequently employs methods of “archaeology” and “indexing,” situating objects within the genealogies of history and the evolution of civilization to trace the origins of things. However, his approach is ancient and almost barbaric, resembling a mystical ritual. He plays the role of a wild man, placing his works or masks in the forest, transforming the natural environment into a theater stage that draws out the spirituality in the earth, trees, and plants.

Although Wu Wei’s artworks exhibit minimalist forms and industrial aesthetics, they are also rich with intricate details, hairs, and holes. This handcrafted quality contrasts with the prevailing smooth aesthetic trends, and the stories thus have a raw surface and subtle aura.

Wu Wei’s works can be categorized into three groups: the sensory and physiological experiences of the body, mystical rituals and natural sorcery, and, building on these, a reprocessing of relevant art histories, including folklore, ancient Greek myth, and the history of physiological anatomy.

The third-floor gallery was designed to mimic the layout of a planetary system, inspired by a piece by Wu Wei. Photographs of wild man served as the central “star,” with other works scattered around them like planets in orbit. A large tiger-skin rug, several tables and chairs, photos of the wild man, and wax drippings on an ancient totem carpet, like the fate hinted at by moles on a human body, we positioned Wu Wei’s work within the logic of nature and myth.

On the fourth floor, we adopted a museum-style layout, with human appearing as the center of the display. On the pedestals, we categorized Wu Wei’s works into astronomical, scientific, and physiological themes. The floor was divided into three zones: the historical zone displaying Wu Wei’s reimagining of art history; the tools zone, showcasing a dismantled automobile; and the entertainment zone, featuring household appliances, musical instruments, and books, all of which reflect the diverse scope of Wu Wei’s artistic practice.

“Wild Man Index” transforms two exhibition spaces into a dual metaphor: on the one hand, the wild man symbolizes the anti-evolutionary and ancient, mysterious rules of barbarism that modernity fails to assimilate; on the other hand, the “index” serves as a tool for retrieving knowledge, categorizing history, and comparing civilizations. The contradiction between these two aspects lies at the heart of the philosophical inquiry and tension in Wu Wei’s works.

“Wild Man Index” ultimately addresses the fundamental question of what it means to be human: does one embrace the decline of humanity through evolution in the face of urbanization, or does one live in a natural state of equality with all living things? The records of the wild man suggest an answer: in their world, the land, sun, and water sustain them. With only the essentials, they are content and require nothing more. Their lives are abundant, not lacking. They neither bear the weight of the past nor worry about the future, living instead in a truly golden world.

Much like in the film 2001: A Space Odyssey, where apes rejoice at their use of tools and humans later embark on space exploration, there is an initial sense of exhilaration about the limitless potential brought by technological and intellectual progress. However, this excitement is suddenly interrupted by the realization of the boundless darkness and the unfathomable abyss behind the infinite possibility. It is not until the appearance of the mysterious black monolith that humanity realizes the cyclical nature of history: from an eager desire to venture the unknown, to a deep fear of what lies within it, and finally, a return to ancient roots.

EXHIBITING WORKS