A snippet from Episode 3 of Hello, Finale! 《你好，尽头！》第三集 片段
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Chinese multimedia artist Tao Hui’s newest series, Hello Finale!, follows nine different individuals making a phone call to close acquaintances. Inspired by film, soap operas, and even local news, the series explores topics of love, life, and death through the overarching theme of “all things must end.”
这是艺术家陶辉的作品。他的新作系列《你好，尽头！》讲的是9个不同的人分别给各自亲友或他人打电话，这些灵感来源于对电影、电视剧，甚至市井新闻报道内容的再创作，内容则“讲述的都是一些和尽头相关的主题，爱、生命、死亡等等”。
For Tao Hui, who grew up during the peak era of cable television, TV has been central in his creative growth. Observing his mother, an avid fan of Taiwanese writer Qiong Yao, cry when watching Yao’s shows, Tao began to wonder, “What is the relationship between reality, television, and film?” and “What role can art play in exploring that dynamic?”
对陶辉来说，他成长在电视媒体的发展和顶峰时期，从小的媒体启蒙就是电视。陶辉曾说自己的妈妈特别爱看琼瑶剧，看得入戏时常常会边看边哭。这让陶辉不禁反思起现实和影视剧之间的关系究竟是怎样的？艺术创作又将以怎样的身份介入？
Tao Hui’s goal is to clearly define the often blurry line between TV shows and reality. In Hello, Finale!, Tao intentionally cherry-picked footage with minor acting slip-ups. “I don’t want the audience to fully believe what I’m showing them. I want them to see the flaws and understand this is what a performance is. There are parts that are real and parts that are fake.”
那根模糊于戏里戏外的分界线，陶辉想把它挑出来。在这次《你好，尽头！》的制作过程中，陶辉故意选了一些没那么完美的成片，“我希望观众不要完全相信我提供的内容，就是想让观众看到出错的部分，意识到这就是表演，有真实有虚假。”
As thoughtfully produced television shows and movies become increasingly difficult to find in China, the public has grown accustomed to the visually grandiose films made for fast profit. “This is to be expected in our modern life. The pursuit of beauty has always been a large driving force behind human motivation, and as our society develops, people have more money to spend on their pursuit of beautiful things. Hence, it’s even more important to separate works that are made for profit and works with artistic intentions.”
现在耗时长且制作精良的影视剧越来越少，公众视线似乎更容易聚集在“美色”创造的商业电影之中。陶辉说，“这是这个时代的必经之路啊，美色一直都是一股强大的生产驱动力，而且社会的发展导致消费力大增。但是我们还是要把这种类型的影视剧和有艺术追求的影视作品做个区分。”
Discussing favorite directors, Tao Hui names Abdellatif Kechiche, Asghar Farhadi, and Michael Haneke to be his current picks. And even though the three don’t share any stylistic similarities, the common denominator is that their films are far more thoughtful than typical Hollywood blockbusters. “I feel like for-profit movies are made for the average consumer, created for mass appeal and satisfying the public,” Tao says with a shrug. “For-profit films and video art should be differentiated. The former is a product; it’s something for people to consume. The latter is created with the goal of provoking discussion and making people think.”
他谈起喜欢的电影导演：柯西胥，法哈蒂，哈内克——很难一以概括的风格，但可以肯定的是，三者都绝非商业大片的导演。“我认为商业电影是为了消费观众情绪、满足观众情感。我们还是要把商业影视剧和有艺术追求的影视作品做个区分，一种是商品，只是为了消费；而另一种却是为了引发思考。”
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