《人类面具》（2014）的开场画面是无人机拍摄的福岛核电站，镜头随之切换到了“草屋”。这间居酒屋位于东京市外的宇都宫，刚好在2011年核电站反应堆发生熔毁事故之后划定的隔离区之外。在灾难发生前，草屋因为让猕猴“服务员”穿戴面具、假发和制服，花枝招展地为顾客送上啤酒和毛巾而受到各大媒体关注。在核电站事故发生之后，甚至这样的噱头也不足以吸引到客人。于热这部片长19分钟的短片主要讲述店里的一位猕猴“女服务员”如何打发这些多出来的空闲时间。虽然没有那些习以为常的活可干，于热的猕猴女主人公仍然打扮齐整，在潮湿的厨房里转悠—那里现在到处是污秽和蛆虫。她有时候也无聊地遛达到大厅里，坐在椅子上，轻敲着脚趾的同时用手拨弄着一缕假发。镜头不时地捕捉到她搪瓷面具下闪烁的眼光，根据拍摄角度的不同，流露出宁静或忧伤。只有一只家猫陪着她，而猫的存在更加衬托了她的窘境：这只猴子已经忘了如何做一个动物。去年秋天，《人类面具》在伦敦的一家画廊里首映，并被选入了在洛杉矶郡立美术馆举办的于热的无标题回顾展。这是此次回顾展巡回的第三站也是最后一站。这部短片为如何看待于热作品在美术馆里的呈现提供了一个思考出发点。（文章来源：Kate Sutton︱译／盛夏）

An expedition leaves Ushuaia for the Antarctic circle. Pierre Huyghe, along with six other artists, is brought aboard Jean-Louis Etienne's boat in search of an uncharted island inhabited by a strange creature. Imprisoned by ice floats, they come across an albino penguin that they capture with their recording station. Six months later, on the Wollman Ice Rink in New York's Central Park -- another sea of ice -- Joshua Cody conducts his orchestral score inspired by the expedition's topographical records.

The film is based on a puppet musical which fuses the fantastical and historical, transforming a process of historical research into a reconfiguration of the present, and featuring musical compositions by Iannis Xenakis and Edgard Varese, who collaborated with Le Corbusier on a pavilion for the 1958 Brussels World Exhibition.

Streamside Day, explores the formative role of ideological and semiotic systems in establishing social rituals and traditions. Huyghe’s exhibition includes five murals, concealed behind five supplementary walls, which are revealed when the walls begin to slowly move through the gallery to configure a pavilion in which a short fiction film is projected. When the film ends, the walls retract to their original positions along the perimeter of the space, restoring the gallery to its pristine condition. After opening with scenes from an Edenic landscape, Huyghe’s film traces the formation of a burgeoning community hypothetically located in the Hudson Valley. The first of two sections limns a mythic kernel that is then instantiated in scenes from a typical inaugural celebration devised to forge communal identity.

Pierre Huyghe’s work questions how diverse languages can apply to the same reality. In his short film Blanche-Neige Lucie (Snow White Lucie), Huyghe tells the story of Lucie Dolene who sang in the French version of Disney’s Snow White and the Seven Dwarfs. The film shows an aged Lucie humming the famous song while an interview with her runs as subtitles to the images. This mirroring of dubbing and translation serves as the vehicle for Huyghe’s questioning of multiple identities and the ideal of translating a meaning to create a universal image.

In Huyghe’s animation, an adolescent girl wanders through a shifting lunar topography and, speaking in a digitally synthesized form of astronaut Neil Armstrong’s voice, delivers a narration blending the actual transmissions from the Apollo 11 mission with excerpts from Jules Verne’s 1864 novel Journey to the Center of the Earth.

What characterizes the Turing machine is first of all its universality: the borders between the cognitive modes of man, animal and machine are abolished. Among all the possible Turing machines, the one Pierre Huyghe presents contains three methods of data processing: human, alive and artificial. Here, the spectator is himself a calculating being, leading his investigation under the retroactive control of the Hal computer - which, in addition, directs computing processes that culminate in generating and exposing visual art works.

The image shows two faces of the story of hip-hop music, which submerged in the seventies in the New York outskirts of The Bronx. Two vinyl records are turning on a turntable. On the one hand the soundtrack is heard of three decades ago, on the other the voices of musicians today. The turntable is mounted at the foot of a block in the Bronx. It is the end of a Block Party, a ghetto party centring on hip-hop. In the same image those artists are brought together who stood at the cradle of this musical genre.

For dOCUMENTA(13) (2012) Pierre Huyghe created Untilled, a compost site within a baroque garden, a non hierarchical association that included a sculpture of a reclining nude with a head obscured by a swarming beehive, aphrodisiac and psychotropic plants, a dog with a pink leg, an uprooted oak tree from Joseph Beuys’ 7,000 Oaks among other elements.

Huyghe’s film installation captures a moment of reproduction between insects over 30 million years old. The title resonates with current scientific experiments into the de-extinction of prehistoric species.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable.
Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.

Pierre Huyghe’s video installation consists of an extended panoramic screen bearing three projections shown in sequence from left to right. The left and right ends of the screen are clips from Wim Wenders’s 1977 film, The American Friend. The center screen displays an episode using the film’s original actor, Bruno Ganz, but created by Huyghe years later. This insertion is an ellipsis, a “fill” in a cinematic time gap, that connects the two original scenes to form one continuous real-time sequence. Huyghe’s intervention forms a juncture where art and life, fiction and reality, and past and present intersect.

Jediism, a movement devoted to establishing an internationally recognized faith, was born in 1977, shortly after the release of George Lucas's first Star Wars film. Huyghe's film serves as a mini-documentary devoted to this newly invented myth.