The Wavering Path
Exhibition Catalog
Kaili, Guizhou, China
2025
Through triple-weaving practice, heeh explored the multisensory linguistic experiences within multi-ethnic communities, alongside their embedded spirit narratives and pluriversal cosmologies. Where mist embraces soil, the voice from the street market chats to ritual hymns and mountain songs, people converge and co-be. Our focus centers on the "embodied knowledge" carried by non-written languages—a linguistic form perceivable only through participatory practices like chanting and dancing, whose essence lies in body-memory and collective imagination. Building on fieldwork and interviews, we will facilitate body workshops using devising methods to study embodied expression. Meanwhile, experimental ethnographic films trace the translation of language into bodily form, summoning cosmic spirits in the liminal space between documentary, memory, and oneiric language.
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The Love of Fog
Video Art | Ethnographic Fiction
The Love of Fog emerges from field research and visual ethnography conducted in Xiangxi, the mountainous western region of Hunan Province. The work investigates local rituals, ghost stories, and the layered textures of cultural hybridity. Rooted in a series of news reports, reflects on a post-pandemic tragedy: a group of Chinese youth who traveled to Zhangjiajie with the intent to jump off its cliffs. Through a montage of Xiangxi ritual performances, footage of jiangshi—the hopping vampires of early Hong Kong horror cinema—and viral internet videos, the film examines the fraught relationship between the anomalous body and modern control mechanisms. At its heart is the motif of fog: both a narrative device and a visual force. Within the cosmology of local witchcraft, fog serves as a medium of transformation, dissolving the boundaries between the human and the monstrous.
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A Bone-
O! Great Ghost Tales
2025, Exhibition Catalog
The fragmented bones of an unidentified creature are sewn into a long ritual scroll. The sacrificed sweet offerings and broken bodies remain in the borderlands—part human, part ghost, part beast, part deity serve as intermediaries between systems, transmitters of nonhuman information, and sensory channels for collective dreaming, vessels for long-suppressed fears to unravel.
This work is part of O! Great Ghost Tales (2024-), an ongoing long-term interdisciplinary project rooted in field research and visual ethnography conducted in Xiangxi, the western mountainous region of Hunan Province. The research focuses on the relationship between local rituals, marginal sensory narratives, and contemporary visual culture.
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The First Person to Disappear
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The second person to stand and clap
Video Essay Desktop Film
2022
The First Person to Disappear (2022) is a desktop essay film that combines online footage with archival materials about Nuwa, the Chinese Great Mother Goddess. Through this interplay of shifting narratives and evocative imagery, the film examines the harsh historical and contemporary realities surrounding women's bodies in China, while also imagining the possibilities of a queer future. This video incorporates an extensive collection of archival images and ancient ink paintings, blending with contemporary visual materials. It explores alternative ways of engaging with archives, integrating all the elements into its narrative while highlighting the connections between the past and the contemporary.
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.
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Playtime
Exhibition card& Catalog
, Chengdu, China
2021
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 virtual TV show camera, the protagonist engages in a game of deconstruction and reconstruction 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 after another is being played.
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The Mysterious Island
Exhibition card
Sleep Center, New York
2018
The Mysterious Island features Huiqi He’s installations that investigate the disciplinary power of space on the docile human body. The works explore a home where the subject-object relation is complicated, a set of urban architecture designed to manipulate collective behavior, and a digital “space of flows” that imposes optimal paths upon its users. Each space – whether private, public, or virtual – is machinery that challenges and rearranges the body that enters it. As the constant advancement of ever more intrusive technology continues to intensify our collective sense of alienation, the process of navigating new systems of order in everyday life is like a series of survival games on a strange island. Should one strive to reclaim the sovereignty of one’s body in such treacherous spaces?
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Bubble Zhou
Exhibition card
Ming Museum， Shanghai, China
2021
BubbleZhou is a video game that reflected on the identity consciousness and life experiences of the Chinese diaspora. Players wake up to an ordinary day in the game world. Their phone screen is flooded with push notifications from news apps, all about someone named BubbleZhou. As they continue their day, information about BubbleZHou pervades everything. People around them mention BubbleZhou, yet it seems no one truly knows or understands this person. As the game progresses, players collect fragments of BubbleZHou's portrait. What starts as mere speculation turns into passive involvement in the pursuit of BubbleZhou. Players find themselves immersed in the omnipresent narrative of BubbleZhou. Through the game, BubbleZhou orchestrates a public introduction of themselves in an intriguing and interactive manner.
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Ink
Workshop
CV
游曳的方向 工作坊
凯里老卫校，贵州，中国
2025
heeh在抱朴驻地项目中，通过三重编织实践探索多民族聚集地的多感官语言经验，及其蕴含的鬼神叙事与多民族宇宙观。从市集低语、仪式吟诵到山野歌谣，在云雾与土地的共生地带，人群聚集并共在。我们的重点聚焦于无文字语言所承载的“体化知识”（embodied knowledge）——即需通过亲身参与吟唱、舞动等实践方能感知的语言形态，其本质是身体的记忆与集体想象的构筑。基于田野调查与访谈，我们借鉴剧场共创 (devising) 的方式进行身体工作坊，学习具身化的语言表达；同时，我们通过拍摄实验民族志影像，捕捉语言与身体之间转译的过程，在记录、记忆与梦境的语言之隙使宇宙神灵复现显影。
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神雾之爱
影像 | 实验民族志
《神雾之爱》是艺术家长期项目-《猗魂異志》（2024-）中的一件影像作品。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。
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洞河-
猗魂异志
巫师杨柳清家, 湘西
2024
洞河(2024，水墨装置，仪式表演)是长期 项目-猗魂异志(2024-)中的第二件作品。 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。
猗魂异志（2024-）是一个跨学科的长期项目，基于我在湘西贵州等地的田野调查，重点关注本土仪式，边缘身体叙事与当代视觉文化之间的关系。
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第一个消失的人
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第二个人起立鼓掌
论文电影 桌面影像
2022
《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。
《第二个人起立鼓掌》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，将个人 的，私密的视角代入以人类学研 究为基础的分析性话语。模糊观察式纪录片的传统的凝视，形成多点式的影像研 究和创作。
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玩乐时间
展览现场
成都时代美术馆
2021
《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，从 而消解连绵不断的中心们。影像中的叙事作为寓言梦魇徘徊在日 常形态中，悄然融入现实。而在实体空间中，一场又一场的游戏 悄然上演。
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神秘岛
展览现场
纽约, Sleep Center
2018
《神秘岛》以空间作为现代微观权力结构的象征，探讨 了 惯性系统驯服肉身的过程。作品呈现了一组操控集体行为 的实体建筑空间以及一个对用户施加 "最佳路 径" 的数字流 动空间。任何空间--无论是私人的，公共的抑或是虚拟的-- 都是运作中的系统机器，挑战及 重新安排进入其中的肉身。 影像标题 "神秘岛" 取自凡尔纳(Jules Verne)著于 1874年的科幻小说.同名影 像作品《神秘岛》（2018）影 射米歇尔福柯（Michel Foucault）的 "监狱群岛" （carceral archipela- go）的概念,旨在探索空间影响身体 的各种方式。作品由四个频道组成，叙述了一则当代生存 寓言，并对高度管制的城市空间系统进行鲁滨逊荒岛般的 想 像。艺术家设想了孤立的一个原点，在那里人们一遍 遍重置自己的生活以反抗规训控制，《神秘岛》展现 了 各种类型的当代空间中的纪律规训机制，并假设了一种策 略可通过离奇的想象以抵御惯性一般的驯服。
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八宝周
雷电所，展览现场
明当代美术馆,上海
2021
八宝周（Bubble Zhou）是一个根据成员兴 趣聚合而成的离散华人创作者组合，也是一个持 续 生长演变的长期集体创作项目。因疫情登陆纽 约、 成员个人生活及计划受到波及而中断，与此 同时我们也感到应当在已经积累的原始素材基础 上进行推进。经过讨论以及对成员们不同技能点 的综合考虑，我们决定在共享素材的基础上共同 创作一 个独立（艺术）游戏。 在深入游戏的过程中，玩家一步一步收集着 八宝周的画像碎片。 从一开始只言片语的猜测， 到被动参与对八宝周的追踪，玩家陷入了八宝周 无处不在的叙事。八宝周以游戏的方式完成了对 公众的初次自我介绍。也在游戏的过程中，逐渐 拼凑出在霸权叙事的夹缝中生存的隐秘线索。
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