Category: Project

  • Made in China (Home version)


    Installation scenario with a video and augmented reality
    Variable dimensions
    2024

    In this space, the different rooms inhabited by three generations form a collective home, where memory-bearing objects—a television, a sofa, a work outfit hanging on a hanger—silently tell the stories of different eras. They are the adjectives of the “Made in China” narrative.

    Thanks to augmented reality, reconstructed from scans of real environments, most of these spaces are restored, reflecting nearly sixty years of evolution in the Chinese manufacturing industry and the birth of the “Made in China” myth. In the rooms of my aunt, my father, and my grandfather—respectively a textile worker, a toolmaker, and a farmer—the family history unfolds at the heart of the global historical narrative, offering us direct and tangible access to this reality.

    By taking the iPad and entering this narrative universe, we are no longer mere spectators: we become actors in this memory.

  • Start from the footprints of yetis (WIP)

    video
    10min
    2025

    From Himalayan snowprints to the forgotten names of the Inuit, the yeti has shifted through a century of human imagination: black ape, white monster, mascot, and symbol. Once a mountain spirit, it was gradually renamed, tamed, and dissolved within expedition tales, newspaper headlines, and popular culture.
    Through archives and narration, the film follows the shadow of the yeti: a metaphor of nature, and a mirror of how humanity classifies and appropriates the “other”—from footprints in the snow, to Indigenous peoples renamed, to the phantoms of artificial intelligence today.

  • When your hand your eyes, and your heart settle once again in the sameplace

    video
    26’32
    2024-2025
    Trailer↗

    After three years of separation due to the pandemic, the filmmaker returns home with a 1990s DV camera, capturing the smallest gestures and pauses of his family’s daily life. Moving between his grandfather’s village, his parents’ county home, and his cousin’s city apartment, the film weaves a portrait of three generations while reflecting on the changing landscape of contemporary China.

  • To where all the stars disappeared

    How can we imagine a world without stars?

    Nearly 1,000 sheets of A3 paper will be printed with words and concepts related to stars — both celestial and symbolic.

    Together, they will construct a cold, contemplative architecture — a temporary archive through which visitors can walk, observe, and reflect.

    On the LED screen, a written monologue will unfold — a text composed specifically for this installation.

    Each visitor’s step, each moment of stillness or gaze, will become part of the performance itself — a quiet choreography of presence.

    The project is rooted in the study of stars as political and cultural symbols, seeking to challenge the geographical, historical, and ideological constructions of identity.

    Through the language of occult signs, it weaves connections between the real world and a dreamlike, speculative universe.

    At the same time, the work gestures toward another form of hidden harmony — one that exists between all living things : humans, nature, systems seen and unseen, woven together by metaphors, rituals, and symbols that shape the fragile ecologies we inhabit.

    At its core, the project addresses reciprocity and care : the invisible yet powerful exchanges between presence and absence, between viewers and space, between memory and forgetting and between ignore and lost.

    It explores collective vulnerability in the face of disappearance — and asks whether mutual attention can itself become an act of resistance, or even of healing.

  • Being happy is just another way of crying

    In this performance, rooted in my own working experiences, I articulate a contemporary form of contradictory suffering through popular culture and a sense of humor.
    Just as I peel onions, shedding tears while recounting political jokes of self-consolation, or invite the audience to march together as another part of the performance, we all find ourselves at the threshold between happiness and pain: on one side, caught in the banal yet painful repetition of daily life, like Sisyphus; on the other, constantly diluting pain into an imaginable joy.

    It reflects both the ways contemporary society constructs happiness and a hopelessly romantic pursuit.

    The performance unfolds through performative theater, stand-up comedy, and interactive workshops.