The Love of Fog (2024) 20 min
The Love of Fog is a video work that forms part of the artist’s ongoing long-term project- O! Great Ghost Tales / 猗魂異志 (2024-), based on field research and visual ethnography conducted in Xiangxi, the western mountainous region of Hunan Province. The research is focused on local rituals, ghost stories, and cultural hybridity. By juxtaposing Xiangxi performances, clips of Jiangshi- classic monsters from early Hong Kong horror films, and online videos, this video artwork explores the tensions between the anomalous body and the controlling mechanisms of modern ruling authority. The fog, a central element of the film, possesses a potent transformative power over the body. As a visual anchor and medium for local witchcraft, it weaves a narrative of human-to-monster transformation.
<神雾之爱>（2024，20 min）是长期项目-<猗魂異志>（2024-）中的一件影像作品。研究项目基于艺术家在湘西贵州等地的田野调查，关注本土仪式，鬼魂故事与新媒介视阈下的文化杂糅问题。这件影像从一桩现实新闻事件出发，将湘西赶尸表演，香港经典僵尸电影与网络视频等影像并置，探讨了怪异身体和权力控制机制之间的紧张关系。作为片中视觉中心和巫术媒介的厚重雾气，对身体产生的强大形变的力量，并连接了人类与怪物之间的生命政治叙事。
Dawn Hollow <洞河>
Located in Xiangxi, Hunan, this site-specific ink and paper installation integrates with local rituals. Designed as ephemeral public art, the work is ritually burned at the riverside to enter the spiritual underworld. The performance concludes as the ashes drift away with the current, dissolving into the water.
水墨装置，仪式表演与影片以视觉民族志的手法记录了一场湘西法 事。在巴代的舞蹈和颂唱中，水墨纸扎装置 在河边燃烧，通向世界的另外一端。
Video and Paper installation, 2024
The first person to disappear, desktop film, 2023, 8min
The first person to disappear（2023）is a desktop essay film that combines online footage with archival materials about Nuwa, the Chinese Goddess of Creation. Through this interplay of shifting narratives and evocative imagery, the film examines the historical and contemporary realities of women’s bodies in China, while imagining the possibilities of a queer future.
The second person to stand and clap (2023) is an auto-ethnography film that begins with an online funeral. The film explores bodily experiences in digital time and the living situation of the Chinese diaspora. This film is a desktop documentary that follows a ghostly immigrant narrative and unfolds as a family journey. In the online space where genuine intimate experiences are lacking, under the spell of digital media and the illusion of modern image representation.
第一个消失的人》(2022)与《第二个人起立鼓掌》(2023)是一组系列实 验桌面论文电影。以真实与虚构并置的方式，聚焦于离散语境下的女性与身体的 历史和叙事。
《第一个消失的人》使用桌面伪纪录片 (desktop documentary)的形式，通过 众多网络视频，档案，中国古绘画等视觉材料 ,重新书写了女娲的经典故事。通 过对不同视觉档案的引用和修改，引入酷儿叙事线索，连接起女娲神话的过去与 未来。在性别视角相对缺失的中文互联网空间和中国大陆的语境中，挖掘本土性 的身体经验。《第二个起立鼓掌的人》通过记忆，家庭影像和大量网络资料，结合视觉民族志 的方法论描述了华人离散家庭的身体经验。影片开始于疫情期间外婆的线上葬礼， 通过三个不同构造的篇章(1.一个葬礼， 2.线上漂浮，3.电子幽灵)，将私人经 验，群体叙事，真实文献档案，寓言故事和自 我反身性研究等视觉和文本材料相 互结合。试图探索桌面论文电影的边界。
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Playtime (2020), extends the video work itself to physical reality, disrupting the established order. The video work developed some 'games' that can be embedded into familiar life, hidden in some urban corners. In this work, the daily disciplinary system that operates regularly in the city is transformed into a subjective, narrative experience. Under the gaze of a camera, the protagonist is playing a game of deconstruction and construction in the urban space. Like weeds or ants, they look into the blind spots of the subjective and objective gaze, and in this way dissolve a central position. As the audience complements and enriches the dialogue with the protagonist, the narrative in the video takes the form of a fable or nightmare, lingering at the edge of the ordinary. However, in the physical a f t e r another is being played.
《玩乐时间》(2020)意在将影像作品本身延伸到现实中，发展 出一些嵌入城市空间的游戏,从而 撬动角落里的稳定秩序。作品中， 将城市内上演的日常规训体系转 化成了主观叙事体验，在重构现 有框架的同时激起变量的可能性.
它们似野草，又似蚂蚁，前赴后继的打开主客体凝视的死角，
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何卉奇 HUIQI HE
b.Changsha, China
Huiqi He’s practice and research at the porous intersection of contemporary art and experimental ethnography. Rooted in the local rituals, myths, and memories, her practice allows fluid experiences and cross-cultural encounters to disperse, touch, and connect within subtle interstices, as a mist-like sensory field. Originally trained in traditional Chinese painting and calligraphy, Huiqi later shifted towards non-material contemporary practices. Following studying in Visual Anthropology, Huiqi’s work synthesizes diverse temporalities and spaces—combining myths, ghost stories, traditional ink motifs, visual archives, and internet found footage. She attempts to construct a playful interplay between fog and caverns, mapping a dynamic trajectory where bodily affects, daily experiences, and epistemological critique intertwine. Her recent ongoing long-term project- O! Great Ghost Tales (2024-) is based on field research and visual ethnography conducted in Xiangxi and Guizhou, focusing on the shamanistic practices and rituals of the southern mountainous regions in China. By merging ethnographic fieldwork with embodied sensory engagement, her transdisciplinary work spans video, ink installation, performance, and workshops, creating a sensory terrain that allows the ghostly and the marginalized to permeate the contemporaryHuiqi graduated with a Bachelor of Fine Arts in Chinese Painting from the Guangzhou Academy of Fine Arts, a Master of Fine Arts in Art Practice from the School of Visual Arts in New York, and a Master of Arts in Visual Anthropology from Goldsmiths, University of London.
卉奇的创作与研究位于当代艺术与实验民族志之间，根植于地方性的日常、仪式与记忆之中。她试图让流动的生命经验与跨文化实践在隐微的空隙中弥散、触碰并连接，形成如水雾般氤氲蔓延的感知场域。她曾学习传统中国绘画与书法，后转向非物质性的当代艺术创作。在视觉人类学的训练后，她的创作结合地方神话传说，鬼故事，中国传统绘画，视觉档案，网络材料等等不同时间与空间，试图构建一组云雾洞穴之间的游戏，其中，视觉、感受、经验、知识与情绪等等相互交织、碰撞，勾勒出动态的联结路径。
她近期的项目-猗魂異志，基于在中国湘西和贵州等地的田野，聚焦于中国南方山地的巫术实践。她将民族志考察与具身性的感官调动相结合，创作涵盖影像、水墨装置、行为表演及工作坊的跨媒介作品。
卉奇本科毕业于广州美术学院中国画系，并先后获得纽约视觉艺术学院（SVA）艺术实践系MFA学位，以及金史密斯学院（Goldsmiths）视觉人类学系MA学位。