曹斐在这部短片中通过不同的剪辑处理手法，探索手语这门特殊语言在面对陈述世界的困境时，超越语言表达本身，并在身体、行为与思考之间所建立的转换与并置关系。

Hip Hop: Guangzhou
2003 / video / 3mins 27secs
If the bitterness of life could fade from our memory, how hard it would be for happiness to do the same? Take it easy, take it simple and happy, we don't have to take burden. Nothing is important any more. All that people need is to form a whole, to dance without care and catch the eternity of happiness in a twinkling.

Same Old, Brand New
2015 / sound and large-scale led screens / 5mins / size variable
Sound by Artist Dickson Dee
Co-commissioned by Art Basel and the International Commerce Centre in Hong Kong
Same Old, Brand New is a new work by Cao Fei that references video games, primarily from the 1980s, which have become an integral part of popular and youth culture in Hong Kong and across the world. With this video installation, Cao Fei attempts to turn collective memories into a current reality. The work follows Cao’s previous multi-media projects that explore the dreams and aspirations of a younger Chinese generation and their strategies for overcoming and escaping reality. Cao Fei mixes social commentary, popular aesthetics, references to Surrealism and a documentary approach to reflect on the rapid and chaotic changes that are occurring in Chinese society today.
Visible from numerous locations across Hong Kong, including the HKCEC, Same Old, Brand New can be witnessed by people all over the city.
Same Old, Brand New is presented during the 2015 edition of Art Basel in Hong Kong. Each night from March 13 to 17, 2015*, Same Old, Brand New is shown across the entire façade of Hong Kong’s iconic 490 meter high International Commerce Centre (ICC) on the Kowloon harbor front.
- Text extract from Art Basel Hong Kong press release
More info:
The Creators Project - Cao Fei Brings 80s Arcade Light Spectacle to Hong Kong Skyscraper
ArtAsiaPacific - Cao Fei Lights Up "Same Old, Brand New" on Hong Kong Skyscraper
Same Old, Brand New Press Image
2015 Art Basel Hong Kong Press Release

Hip Hop: Fukuoka
2005 / video / 8mins
Hip Hop Project: Happiness of the Unhappy
Common-placed HipHop. Proletarian HipHop. Non-youth HipHop. Non-trendy HipHop.
HIP HOP is a music which humorously expresses negative energy, it is popular yet it is belongs more to the public; Hip Hop comes from the street, from the lower class, it is marked by proletarian.
HIP HOP is a kind of accusation, is a means to express one' s depression and refers to social reality. HIP HOP Project, endeavors to combine HIP-HOP with different cultures and to give HIP-HOP realistic meaning, to let HIP-HOP that comes from the common go back to ordinary people, go back to doubting and questioning reality. Hip is butt, Hop is a move. Hip Hop is the dance of moving one' s butt.
HIP HOP Project makes everyone (not only the young ones) interpret Hip Hop through their bodies, feel and relieve in Hip Hop and outline the true contour of a city.

Hip Hop: New York
2006 / video / 5mins
Hip Hop Project: Happiness of the Unhappy
Common-placed HipHop. Proletarian HipHop. Non-youth HipHop. Non-trendy HipHop.
HIP HOP is a music which humorously expresses negative energy, it is popular yet it is belongs more to the public; Hip Hop comes from the street, from the lower class, it is marked by proletarian.
HIP HOP is a kind of accusation, is a means to express one' s depression and refers to social reality. HIP HOP Project, endeavors to combine HIP-HOP with different cultures and to give HIP-HOP realistic meaning, to let HIP-HOP that comes from the common go back to ordinary people, go back to doubting and questioning reality. Hip is butt, Hop is a move. Hip Hop is the dance of moving one' s butt.
HIP HOP Project makes everyone (not only the young ones) interpret Hip Hop through their bodies, feel and relieve in Hip Hop and outline the true contour of a city.

曹斐从早期创作就一直强化与日常生活的联系，以及对周遭都市生活的观察，并逐渐发展出独有的影像表达方式。这部短片拍摄于广州繁忙街道的一角，曹斐将镜头对准一位旁若无人起舞的中年男子。他的动作带着些许滑稽，既像是舞蹈又像是某种体操，但他自得其乐地投入其中，还时不时为匆匆走过的行人送上飞吻。曹斐为短片挑选的配乐——1954年的经典老歌《给我一个吻》，与男子的舞蹈完全融为一体。在这短暂的片刻，男子似乎成为公共空间甚至是这座都市的主人，整个街道就是他的舞台，车灯就是灯光，而路人就是观众。

曹斐 伦敦蛇形画廊个展：蓝图 Blueprints首次展出
The Eternal Wave，2020，Virtual reality
Produced in collaboration with Acute Art
The Eternal Wave is Cao Fei's first virtual reality work and uses the spaces of the Hongxia Theatre's kitchen as its backdrop. The experience begins in a physical rendition of a stage set that the artist designed for her film, Nova, which was based on the theatre's original kitchen. From this starting point, the visitor embarks on a multi-sensory journey through various portals, traversing the boundaries between time and space to explore the computers of the early electronics industry in China and the areas in and around the Hongxia Theatre. The title of the work is taken from the 1958 film directed by Wang Ping, which focuses on the story of an underground CPC telegrapher, and is a key reference within the plotline of Nova.
虚拟现实VR作品《永不消逝的电波》由Acute Art与艺术家联合制作，将首次亮相于"蓝图"个展当中。《永不消逝的电波》，一个为特定场域创作和制作的VR装置，是以曹斐北京工作室的一角为背景，以HX项目档案材料和家具组成，以及包含她的最新电影《新星》。这三个相互关联的作品内容标志着曹斐在过去五年里对北京进行的广泛研究的汇总，考察了她所生活和工作的城市酒仙桥（红霞）地区的社会历史和城市转型。。“蓝图”探索了曹斐如何在现实和虚拟时空中创造多维世界的能力，并从中呈现出中国及其他不同地区城市景观的变化。

We love whips, we need to worry, we don’t dare to bark, and we work tamely, faithfully and patiently like dogs. We do everything our boss asked, understanding his point brightly in no time. We are surely poor dogs, willing to act as animals and being locked in the cage of modernization. When will we have the courage to bite our bosses ruthlessly, taking off our masks, peeling off our fur, and being a group of real rabid dogs?
我们热爱鞭子，我们需要撕咬，我们不敢吼叫，像狗一样工作，一样驯服，一样忠诚，一样隐忍，挥之即来，招之即去，能聪慧地领会主人的意图。我们何尝不是一条可怜狗，心甘情愿地扮演困兽，囚禁在现代化的牢笼里。什么时候我们才有勇气狠咬主人一口，脱下面具，扒下兽皮，做一条真正的疯狗。

Splendid River
2015 / video / 5mins 11secs
The video shows the replica of the Secession building in Cao Fei’s hometown of Guangzhou, where the building houses the offices of a real estate business. Copying is a common phenomenon in China, where anything from popular brand-name products to icons of Western architecture or even whole towns are faked, as in the case of the Austrian village Hallstatt. During Cao Fei's solo exhibition at Secession, Cao creates a site specific outdoor installation Splendid River (2015), four Chinese characters temporarily decorate the Secession’s façade, replicating the replica of the Secession building in Cao Fei’s hometown of Guangzhou.

《牛奶》由广州当地出名的街头艺人阿明扮演，他在片中饰演了一名送奶工人，每天骑着车将新鲜的牛奶送出去，把空的奶瓶收回来，在出租屋里以各种方式消磨时光。

由三个短章组合而成的《影梦人生》令人想到童年的时光。曹斐从若干年前中国中央电视台的一次春节联欢晚会上获得了对这种语言的感知。它是手的姿势与光交迭，在光的映照之下形成的一直亦真亦幻的影像；从A ROCK到Dictator到Transmigration，每个短章都发展出不同的叙事，它们闪现着童话的色彩，东方的生存哲学或具体的社会和政治指向；手影构成的黑白影像显得扑朔迷离，其中包裹着一种神秘的气质，这种神秘令观者眩晕，然而又无法克制地想要辨析，在那些童稚的动态背后，所隐藏和指涉的意味。

曹斐的个展《HX》题目取自“红霞”拼音的缩写，展览是以北京东北面酒仙桥地区的历史及其不断变化的现实作为长期研究项目的首次国际展示。这也是蓬皮杜艺术中心(Centre Pompidou)首次举办的中国艺术家个展。展览的第二部分“未来”，则是长达109分钟的科幻电影《新星》（Nova）。苏联的科幻小说和中国的科幻老电影是《新星》的重要灵感来源，而装置部分几次出现的旅行箱似乎暗示了影片主人公时空穿越的故事线索。
影片中的“新星（NOVA）”是一个虚构的城市，影片围绕着新星市和在新星计算机有限公司工作的科学家的故事而展开。该公司正与其它外国专家一起积极开发着一个秘密的项目“HX时光机”，通过将人类数字化以便在计算机世界中拦截和收集大量数据。主演的科学家也是该项目的领导者之一，他希望通过在自己年幼的儿子身上进行实验来取得重大突破，但他的尝试失败了，付出的代价是：儿子成为了一个只存在于网络世界中的电子孤魂：一个迷失的灵魂，被困于过去和未来、梦想和现实之间，他不断试图在人类的层面上和他的科学家父亲再次发生生命的关联。

The urban fringe of Beijing is the loosen bricks from fragmented land. A result of urban development. The dynamic and complex urban system produced and blurred out the edges between cities and suburbs. The size, scale and land use of different areas are at constant conversion to each other, which becomes the foundation to China urban development and relative space of the society and the economy.
In the video, several domestic vacuum cleaning robots are released at urban fringe. The robots navigate randomly in a demolishing area - a scene that we already witness and it could be found in different area under urbanization; a scene that is exciting and also being the norm in China.
The robots - as the visitors from the outer space, arrive in our world. By taking in the dust and ashes at the urban fringe, the land reality is collected and made into a sample; a sample that conveys our all time obsession and celebration of modern contemporary.

Cao Fei explores a virtual metropolis within the online platform Second Life. The work blends real and fictional elements of Chinese identity and urbanism to comment on capitalism and development in the aftermath of the global financial crisis. Marxist iconography intersects with modern corporate structures, creating a dystopian yet whimsical reflection on 21st-century economic realities.

Short documentary about people involved in Cosplay.

Video, color, sound, 5 min