Crossings

The portfolio places the complete portrait in the He Fa group alongside three details: nose, forehead and hair, and eye.

The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.

The grouping and captions of the Large Portraits PDF list four sets of full portraits and details; names follow the original captions only.

The saved installation instructions document switching on individual screens, media players and MP4 selection, and preserve the arrangement of screens, tubing and six connected stools.

Pages 36–37 of the early portfolio contain this series; in the first image, the body, chair and objects are assembled from misaligned rectangular photographs.

The portfolio statement identifies the interaction of performer, large screen and projection, grounding the comparison of bodily obstruction and images projected back onto a body.

Pages 36–37 of the early portfolio contain this series; in the first image, the body, chair and objects are assembled from misaligned rectangular photographs.

The 2023 text Theatre and Fear proposes a two-to-five-hour personal interview, retained records and subsequent project initiation.

The body in the first portfolio image is set against white, with no support visible; the photographs are not labelled as successive stages of motion.

He Fa’s text of 29 October 2020 and the November conversations preserve production records of recruitment, continuous rehearsals and bodily strain.

The body in the first portfolio image is set against white, with no support visible; the photographs are not labelled as successive stages of motion.

The event record specifies 1 January 2022, an office, eight makers and fifteen audience members, including crowding and obstruction as conditions of viewing.

The three images show snowy trees and a watercourse, amusement structures in snow, and boats with a waterside pavilion; rectangular photographic seams run throughout.

The April proposal, May relocation notice and July account separately record plans, cancellation and relocation, and later recollection, retaining their distinct event status.

Displaced superimpositions form the architectural outlines; the original portfolio does not specify the number of exposures or processing algorithm.

The production account of 18 August 2023 specifically records shifts among photography, performance, directing and documentation in collective creation.

The complete horizontal image consists of dense horizontal strips, with divisions and seams remaining visible.

The 2016 proposal jointly signed by He Fa and Zhang Aoshuang lists Sangou among FakingAosome’s works and describes virtual characters, GIF drawings and a collaged theatre.

The complete horizontal image consists of dense horizontal strips, with divisions and seams remaining visible.

The CCA exhibition statement supplies six transformations: Chinese poetry, literal English translation, accented reading, pinyin transcription, Chinese rewriting and machine translation into English.

Two images sit together: one uses distinct divisions, the other soft superimposition; the portfolio does not state a developmental sequence between them.

The saved installation instructions document switching on individual screens, media players and MP4 selection, and preserve the arrangement of screens, tubing and six connected stools.

Two images sit together: one uses distinct divisions, the other soft superimposition; the portfolio does not state a developmental sequence between them.

The portfolio statement directly records prolonged making, repeated rejection and eventual abandonment; stopping does not prove that the problem was resolved.

Photographic fragments accumulate along the long axis of a narrow vertical image, directing attention between its upper and lower ends.

The original proposal describes the corridor as a required passage and proposes multisensory temporal and spatial experience; it remains a proposal with implementation unverified.

Photographic fragments accumulate along the long axis of a narrow vertical image, directing attention between its upper and lower ends.

Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction.

The 2012 thesis Looking for Shanshui Photography describes cropping, scaling and subjective arrangement, and proposes possible extension into a long scroll; the length is hypothetical.

The original proposal envisages artists from different neighbourhoods taking turns to host activities; recruitment and the year-long schedule are plans, not completion records.

The 2012 thesis Looking for Shanshui Photography describes cropping, scaling and subjective arrangement, and proposes possible extension into a long scroll; the length is hypothetical.

The portfolio statement retains both the choice of a familiar landscape composition and the declaration of free growth; it does not establish the absence of artistic decisions.

The first image arranges roads, vehicles and nearby buildings in repeated horizontal rows.

The original PDF and mind map organize a sensory journey through digestive passages, birth and death; they establish a conception, not a built performance.

The first image arranges roads, vehicles and nearby buildings in repeated horizontal rows.

Liang Yin’s November 2022 call proposes recording relationships, developing a script from the recordings and performance by participants; He Fa’s later account is dated separately.

The first image places urban views in rectangular rows, retaining differences of angle and position between adjacent blocks.

The jointly signed proposal of 5 September 2016 surrounds the space with four screens and distinguishes audience and performance areas by colour; the evidence is a proposal and equipment arrangement.

In the first image, table, food, people and room fragments form an encircling composition, with directions changed by the collage.

Public materials from April–May 2023 describe collective puppet making, assigned personalities and role recruitment; individual roles and texts retain their own authors.

In the first image, table, food, people and room fragments form an encircling composition, with directions changed by the collage.

The saved installation instructions document switching on individual screens, media players and MP4 selection, and preserve the arrangement of screens, tubing and six connected stools.

The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision.

Pages 1–9 of the Golden Plough Award draft combine a ploughshare, sun and V shape; the draft supplies no selection or manufacture record.

The portfolio statement explicitly makes JPEG file size the sorting criterion and describes settling and floating; numerical sorting is not equated with judgement of people.

The September 2020 rules specify four rotating film themes, participants’ own videos and the decision not to record discussions.

The portfolio statement explicitly makes JPEG file size the sorting criterion and describes settling and floating; numerical sorting is not equated with judgement of people.

The May 2021 call and He Fa’s July account document questioning, voting, character departure and transcription with reflection; version differences remain explicit.

The portfolio medium entry specifies any projectable material, with dimensions determined by the venue; the record supplies no screening duration.

The CCA exhibition statement documents printed texts, the Kunlun video and listening/reading devices exhibited together.

The portfolio medium entry specifies any projectable material, with dimensions determined by the venue; the record supplies no screening duration.

The April proposal, May relocation notice and July account separately record plans, cancellation and relocation, and later recollection, retaining their distinct event status.

The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction.

The body in the first portfolio image is set against white, with no support visible; the photographs are not labelled as successive stages of motion.

The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction.

The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.

The portfolio statement identifies the interaction of performer, large screen and projection, grounding the comparison of bodily obstruction and images projected back onto a body.

The 2016 proposal jointly signed by He Fa and Zhang Aoshuang lists Sangou among FakingAosome’s works and describes virtual characters, GIF drawings and a collaged theatre.

The jointly signed proposal of 5 September 2016 surrounds the space with four screens and distinguishes audience and performance areas by colour; the evidence is a proposal and equipment arrangement.

The event record specifies 1 January 2022, an office, eight makers and fifteen audience members, including crowding and obstruction as conditions of viewing.

The original PDF and mind map organize a sensory journey through digestive passages, birth and death; they establish a conception, not a built performance.

The May 2021 call and He Fa’s July account document questioning, voting, character departure and transcription with reflection; version differences remain explicit.

The original proposal describes the corridor as a required passage and proposes multisensory temporal and spatial experience; it remains a proposal with implementation unverified.

The 2020 project introduction records passage from a white room to a black stage and later meetings; publication choice is retained in the same project documentation.

The 2016 proposal aims at loss of control through actions involving a team of thirty; this is the proposal’s premise.

The 2023 call jointly signed by Lifeng and He Fa starts from Lifeng’s account Ruma and invites collective writing, directing, performance and documentation.

The 2016 proposal aims at loss of control through actions involving a team of thirty; this is the proposal’s premise.

The call for 23 October 2021 specifies six fighters, a four-hour countdown and five rounds of audience elimination votes; later proposals do not replace this version.

The academy’s official artist list includes He Fa among advanced-study members, establishing collective participation, not individual authorship of the overall project or a specific installation.

Chloe Ghillani’s project page lists Fa He as a founding contributor separately from publisher and editors; it does not identify particular articles.

The academy’s official artist list includes He Fa among advanced-study members, establishing collective participation, not individual authorship of the overall project or a specific installation.

The original proposal’s title directly describes it as the concluding seventh chapter of Great Chain of Being; this establishes an intended relationship, not implementation.

Chloe Ghillani’s project page lists Fa He as a founding contributor separately from publisher and editors; it does not identify particular articles.

He Fa’s 2024 account and the 2025 ten-year archive explicitly preserve participant-initiated projects; platform support does not replace project authorship.

Fa He Work Sample List lists four Fa’s review recordings, their durations and the date 28 April 2017; the list is not a reconstruction of the entire event.

The September 2020 rules specify four rotating film themes, participants’ own videos and the decision not to record discussions.

The saved English artist statement before advancement review raises artist identity and expression; it is a contemporaneous self-account.

The 2023 text Theatre and Fear proposes a two-to-five-hour personal interview, retained records and subsequent project initiation.

The original proposal envisages artists from different neighbourhoods taking turns to host activities; recruitment and the year-long schedule are plans, not completion records.

The April proposal, May relocation notice and July account separately record plans, cancellation and relocation, and later recollection, retaining their distinct event status.

The original 2018 Fa He.docx designates an Instagram account as the thesis; historical posts have not been fully read and no posting sequence is supplied.

He Fa’s signed 3P call requires at least three publications within one month, retained separately from the play’s director, writer and 3P participant lists.

The September 2020 rules specify four rotating film themes, participants’ own videos and the decision not to record discussions.

He Fa’s signed 3P call requires at least three publications within one month, retained separately from the play’s director, writer and 3P participant lists.

The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.

The work and collaboration record documents Twelve Water Lamps as a collaborative studio practice, identifies Ma Yuan’s water paintings as a reference, and records He Fa’s photography, conceptual development and artistic direction.

The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.

The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.

The 27 April 2021 account A Seemingly Uncertain Future recalls recruitment, rehearsals and organizer intervention from Shixiang to Hallucination and explicitly records a performance.

An actor’s account of 7 December 2023 records an observer role becoming a participant through discussion, with He Fa contributing as supervisor; actor and character remain distinct.

The 27 April 2021 account A Seemingly Uncertain Future recalls recruitment, rehearsals and organizer intervention from Shixiang to Hallucination and explicitly records a performance.

The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.

He Fa’s signed performance text of 3 March 2022 records members leaving and joining during a month, multiple personal difficulties and an eleven-member list.

The portfolio statement directly records prolonged making, repeated rejection and eventual abandonment; stopping does not prove that the problem was resolved.

He Fa’s signed performance text of 3 March 2022 records members leaving and joining during a month, multiple personal difficulties and an eleven-member list.

The 2023 call jointly signed by Lifeng and He Fa starts from Lifeng’s account Ruma and invites collective writing, directing, performance and documentation.

Liang Yin’s November 2022 call proposes recording relationships, developing a script from the recordings and performance by participants; He Fa’s later account is dated separately.

An actor’s account of 7 December 2023 records an observer role becoming a participant through discussion, with He Fa contributing as supervisor; actor and character remain distinct.

The original call of 24 March 2021 invites people to experience how to eat a banana together; it supplies neither complete exercises nor post-event results.

The 2012 graduation Product Catalogue records the lamps, white 3D-printed nylon and a 220V/5W source; it grounds the object and luminous structure, not ambient illumination.

The original call of 24 March 2021 invites people to experience how to eat a banana together; it supplies neither complete exercises nor post-event results.

The project text and He Fa’s Who Is a Centrist? of 23 April 2021 ground audience choices, character speech and repetitive language; production credits remain distinct.

The project text and He Fa’s Who Is a Centrist? of 23 April 2021 ground audience choices, character speech and repetitive language; production credits remain distinct.

The CCA exhibition statement supplies six transformations: Chinese poetry, literal English translation, accented reading, pinyin transcription, Chinese rewriting and machine translation into English.

Public materials from April–May 2023 describe collective puppet making, assigned personalities and role recruitment; individual roles and texts retain their own authors.

The Gewu Tantan text connects ten homophonic names with temperaments and floral images; it is a naming proposal.

Selected pages of the Purple Action project introduction preserve co-initiation, origins and structure; the spatial presentation plan remains a historical proposal.

He Fa’s 2024 account and the 2025 ten-year archive explicitly preserve participant-initiated projects; platform support does not replace project authorship.

The 2016 proposal jointly signed by He Fa and Zhang Aoshuang lists the work under FakingAosome and explicitly combines theatre and games at P4; detailed documentation is limited.

At 02:34:12 the film credits directly attribute direction and screenplay to collective work by the cast and crew; the scope follows the original credit wording.

The public 2016 GIF edition combines joint credits, text and looping images; the 2022 retrospective is dated separately.

The original 2018 Fa He.docx designates an Instagram account as the thesis; historical posts have not been fully read and no posting sequence is supplied.

The two portfolios separately record titles, dates and sizes for the 2010 ungridded vertical version and the 2012 gridded square version, retaining a shared source with distinct versions.

The composition and dimensions of the 2010 Portrait—He Fa and 2012 I follow their respective documents; titles are not merged.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction.

The project account records recruitment, rehearsals, performance and later conversations, together with on-site 3P documentation by He Fa, Zhang Shaohua and Huang Lucang.

The May 2021 call and He Fa’s July account document questioning, voting, character departure and transcription with reflection; version differences remain explicit.

The 2016 proposal jointly signed by He Fa and Zhang Aoshuang lists the work under FakingAosome and explicitly combines theatre and games at P4; detailed documentation is limited.

The May 2021 call and He Fa’s July account document questioning, voting, character departure and transcription with reflection; version differences remain explicit.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

The portfolio statement describes macro observation of the self, becoming a mountain and the camera as observer, directly grounding the internal viewing relation in the self-portrait.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

The portfolio statement explicitly makes JPEG file size the sorting criterion and describes settling and floating; numerical sorting is not equated with judgement of people.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

The portfolio statement retains both the choice of a familiar landscape composition and the declaration of free growth; it does not establish the absence of artistic decisions.

The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work.

The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.

The 2012 graduation Product Catalogue records the lamps, white 3D-printed nylon and a 220V/5W source; it grounds the object and luminous structure, not ambient illumination.

Pages 23–25 of the 2015 preparation PPT title lamp photographs Wu, dated 2014, inkjet print, 120×120 cm; photographs and objects are catalogued separately.

The CAFA Art Museum collection record specifies C-print lightbox transparency and lightbox, grounding a backlit planar medium.

The 2012 graduation Product Catalogue records the lamps, white 3D-printed nylon and a 220V/5W source; it grounds the object and luminous structure, not ambient illumination.

The Dayou.mp4 shown in the installation instructions corresponds to the saved file of the same name and size; its frames retain on-screen comments and picture-in-picture.

The CCA exhibition statement supplies six transformations: Chinese poetry, literal English translation, accented reading, pinyin transcription, Chinese rewriting and machine translation into English.

Source frames retain on-screen text, picture-in-picture and images of viewers, bringing existing traces of viewing into the playback material.

The credits at 02:34:12 and 02:34:50 separately retain collective direction and screenplay, production, editing and shared cinematography.

The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.

The production account of 18 August 2023 specifically records shifts among photography, performance, directing and documentation in collective creation.

He Fa’s 2024 account and the 2025 ten-year archive explicitly preserve participant-initiated projects; platform support does not replace project authorship.

The film credits retain collective direction and screenplay plus He Fa’s initiation, production and editing credits, which cannot be replaced by a platform name.

He Fa’s 2024 account and the 2025 ten-year archive explicitly preserve participant-initiated projects; platform support does not replace project authorship.

The original project description leaves publication of photographs to participants; this is a specific project rule.

The saved installation instructions document switching on individual screens, media players and MP4 selection, and preserve the arrangement of screens, tubing and six connected stools.

Retrospective texts including A Seemingly Uncertain Future specifically describe photographic research, founding the space, recruitment, rehearsals and public opening.

The CCA exhibition statement supplies six transformations: Chinese poetry, literal English translation, accented reading, pinyin transcription, Chinese rewriting and machine translation into English.

The portfolio statement explicitly makes JPEG file size the sorting criterion and describes settling and floating; numerical sorting is not equated with judgement of people.

The CCA exhibition statement supplies six transformations: Chinese poetry, literal English translation, accented reading, pinyin transcription, Chinese rewriting and machine translation into English.

The original project description explicitly leaves photograph publication to participants, alongside the structure of viewing and renewed meetings.

The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision.

The portfolio statement explicitly makes JPEG file size the sorting criterion and describes settling and floating; numerical sorting is not equated with judgement of people.

The portfolio statement describes macro observation of the self, becoming a mountain and the camera as observer, directly grounding the internal viewing relation in the self-portrait.

The public project introduction identifies Zhang Shaohua and He Fa’s shared work, their respective contributions and the process of photography, meetings and return viewing.

XIN GEWU presents He Fa’s photographs from the Gewu Studio period, keeping their complete frames to examine surfaces, light and openings. Photographic authorship is recorded separately from the collaborative studio practice behind the objects.

The 2012–2013 work and exhibition records preserve Twelve Water Lamps as a collaborative studio work alongside He Fa’s photographs of the originals. They record his photography, conceptual development, form exploration and artistic direction.