Ho Rui An’s research focuses on the geopolitics of East and South East Asia, particularly as it relates to capitalist modernity. In several earlier works, he investigated the myth of a “miraculous” Asia spawned by the region’s intense economic and technological acceleration after World War II, which came to a sudden halt with the regional financial crisis of 1997. This leap led to the proliferation of several “Asian futurisms” in popular culture, as vividly depicted in the cyberpunk genre, which often used the tech-driven Asian metropolis as its de facto context. In Student Bodies, Ho considers the history of the region’s capitalist development through the figure of the student body, approaching it as both a literal embodiment and metaphor for ideological advancement, regression, and resistance. Mixing archival and filmed footage, the video tracks the student body from the earliest Japanese university students in the West onwards. Describing it as a work of “pedagogical horror”, the artist employs tropes from horror films to recount a monstrous and often fraught geopolitical history, particularly through its disconcerting sound design, where the narration is provided by unseen “ghosts” whose guttural utterances are comprehensible only through the subtitles.