“长长”最早来源于艺术家钟云舒对水的印象 - 包括对现在的苏州河的印象，对过去的长江的印象，对渡江的印象，对三峡大坝的印象，对武汉，上海的客轮的印象，以及对顺流而下和逆流而上的印象。这些没被抹去的记忆烙痕是认识理解世界的营造法式的图解。印象和视像相互缠绕。所有让人留下强烈印象的视像，都是因为这些景象曾经存在，而即将变成遗址，这是长长时间所刻画的观念雕塑。从武汉沿长江而下的客船，三峡大坝铸成前的各种计划中即将变成遗址的景区，搁浅轮船的中转和分配，过江隧道模糊的吉光片羽。在这次展览中，这些随意的日常体验被转化成一系列在想象力和物理原则之间展开的长久角逐。
对艺术家钟云舒而言，工作室的创作为的不是描绘自然景观，而是对材料之间物理作用的观察和游戏。她运用各种具有延展性的材质所制作的抽象景观，编排出一系列在动静之间的临界点，使事物在静态中饱含动能。而惯性，浮力等各种物理现象也就走到观众面前，仿佛触手可见。在钟云舒此次展览之中，“The Endless Sp无尽的春天”将能量的积蓄，传递，流失摆设在装置中，像是河流对地表的侵蚀，搬运，冲积。
The Endless Spring（长长）originates from the artist Tant Zhong's multiple impressions of water - including the impression of Suzhou River at present, the impression of Yangtze River in the past, and the ones of crossing rivers, the Three Gorges Dams, the passenger ships of Wuhan and Shanghai, as well as the impression of sailing co-current and counter-current. These unerased brands of memories are the architectural-treatise illustrations of observing and understanding the world.Impressions and images are intertwined together. All images that make strong impressions, will soon become ruins because these scenes have existed, and these are the conceptual sculptures portrayed by the Endless Springtime, including the passenger ships sailing along the Yangtze River from Wuhan, the soon-to-be-ruins scenic spots in various blueprints before the completion of the Three Gorges Dams, the transition and distribution of those berthing ships, and the fuzzy cultural relics in the subaqueous tunnel. In this exhibition, these casual daily experiences are transformed into a series of long-term contests between imaginations and physical principles.
For the artist Tant Zhong, studio creation is not about depicting the natural landscape, but the observations and games of the physical effects between materials. Using abstract landscapes made of various malleable materials, she organizes a series of tipping points between static and dynamic, making things full of kinetic energy in the static state. The inertia, buoyancy and other physical phenomena also come in front of the viewers, as if they were visibly within reach. In this solo exhibition of Tant Zhong, "The Endless Spring" displays the saving, transmission, and loss of energy in the installations, much like the erosion, transportation, and flooding of rivers to the earth's surface.
“长长”将自然现象视为多义的参照点，而这些物理的动能被艺术家引申到语言和视觉层面上，语言和造型的节奏感是事物获得歧义的开始钟云舒让这些不同的形态延伸到数码界面和展厅中，并引导我们延伸性地想象各种可能的观看习惯 - 与其说观看是由单点透视建构的，不如说它是观者眼球一连串的转动，以及思考时的走神。
The Endless Spring views natural phenomena as reference points of polysemy and this physical kinetic energy is extended to the linguistic and visual level by the artist, while the rhythm of language and modeling is the beginning for things to acquire ambiguity. Tant Zhong extends these different forms digital interfaces and exhibition hall, and leads us to imagine possible viewing habits of all kinds extensively - instead of claiming viewing is constructed with single perspectives, it is a series of turning off the viewer's eyes, and the occasional spacing out from thinking.
This is a winding exhibition of twists and turns. It is not referring to anything of the form, but the entanglement of these words and objects, like the ink that is dragged away. Raindrops fall, and the heavy blows are due to the fact that distance gives the soft water time to accelerate, or the last-syllable without a proper finish. The soft and gloomy invisibility is an ellipsis. The spring here becomes a representative. Stranded ships need to wait for the tide; the waterfall created by the fall and the calm water blocked by the dam are all forces of silent transformation.