RUOHONG WU

City of the Good Neighbors, II

A space comprises 55 references from various times, subjects, and genres, which inspires the research project, “This was a project, but we have forgotten what it was.” over the past 12 years.

Naturaleza Muerta

This was a project, but we have forgotten what it was. No.7

27185

This was a project, but we have forgotten what it was. No.6

SHOWER

111, 1e Middellandstraat, Rotterdam | rooms are surroundings | space | wrap

Luis Egidio Meléndez, Still Life with Watermelons and Apples in a Landscape, 1771. Room 088, Museo del Prado, Madrid

LABEL

metallic blue foil stamp | 40x60cm | 4 rolls of 1,000 copies | Holland Etiketten Service, NL

2012-2022, 10 YEARS RUJA

NO OTHER KINDS OF RELICS

the history | the object | the production | 21x 29,7cm | 24 pages | risograph black | 500 copies

Conversation of Three Storylines: Objects from the Collection of the Rijksmuseum of Amsterdam (c.1400-1900), Images of Plants by Karl Blossfeldt (the 1920s), and Porcelain Sculpture Combined with Abandoned Casting Moulds Found in Jingdezhen, China (2017).

MASS-PRODUCTION

hand stitched textile | 160x160cm | 180x200cm | 5 copies

A series of hand-stitched tapestries composed of selvedges are byproducts of the textile weaving process sourced from local Dutch textile industries. The unpredictable pattern reveals the significance of every manufacturing process and element. Meanwhile, the other side manifests personal participation by colour-coding the hours and routines during the completion process.

BOMBA GITANA

Public event, Matadero, Madrid

BOM BOM BAY

CHINESE GAMES

Luis Egidio Meléndez, Still Life with Breams, Oranges, Garlic, Seasoning and Kitchen Utensils, 1772. Room 088, Museo del Prado, Madrid

AS MUCH, AS WITH MUCH, AS MUCH, AS IT IS

18x29.7cm | 20 pages | risograph red | 100 copies

SHOWER

Scenography | Nacho Garcia’s Exhibition | 2020

ALL DIFFERENT, ALL EQUAL

44 found moulds | 44 slipcased porcelain forms

It reflects the cultural gap in China, a country renowned for its quality and age-old crafts but also notorious for the abundance of mass-produced novelty objects. This project emerged following a visit to Jing De Zhen: the "capital of sophisticated porcelain" for over 1,700 years. Today, Jing De Zhen is filled with abandoned factories, artisans struggling with defining their value in the communist society, and a plethora of inexpensive souvenirs displayed on side streets, eagerly awaiting buyers.

Shocked by the vast amount of moulds thrown away after just a few uses, Wu decided to collect these casts of classic ceramic forms, discarded by local artisans and porcelain-making factories around Jing De Zhen, and give them a second life. Visible imperfection marks were kept further before or during the casting process to highlight the potential for individuality within mass production.

LA PANCHAGA

Scenography design for Jose Quintanar’s exhibition at JUNGLEFESTIVAL, Liege, Belgium

A FINE LINE

the 1st International Architecture Biennial of Euskadi Mugak, 2018. Scenarios by METALOCUS.

Exhibition, Aram Gallery, London, 2019

Exhibition, BEERS Gallery, London, 2019