Yuqi Wang

Big Game integrates performance, face paint and costume into the background of retro game atmosphere. The slowly moving green grid is also a symbol of the raw virtual world. Costumes are metaphor for rules and disciplines Dominant power exists invisibly. The work uses the control requirements and precise algorithms of the game attributes to question social norms, solidified classes, and the void and limitation of highly repetitive modern life.

In computer game, gamers accomplish missions by manipulating the virtual figure - the virtual figure being a projection of gamer. In real life then, People do similar monotonous routines at the “right” time generation after generation. Everything seems perfectly calculated, like a game. Artist is led to wonder, are we being projected? Who is manipulating us and getting the satisfaction?

Yuqi stood on the platform of Beijing Subway Line 2, arms outstretched, using direct intervention to present "common sense" and “social rule”  shapes individual’s conscious and behavior in everyday life. This work also examines the reactions of the surrounding group when these "rules" are broken, the performance ultimately leading to a confrontation between power and the individual.

Using variable “body installation” to explore how the individual is instrumentalized.

Contemporary life is saturated with constantly updated，overloaded, and fragmented information，the temptations of consumerism; and the exploitation of personal time by work.

In China's large Internet companies, each employee is referred to by a "nickname", personal identity is erased，and the work system includes a 6-day week and a lot of overtime, individual time is almost entirely consumed by work. However, under social pressure and the lure of economic reward, individuals are willing to become a screw in the high-speed running machine of the enterprise system..

Immortal Game uses the obsession with clothes as a metaphor to discuss how individuals gradually lose themselves in the process of pursuing the object of obsession, and their consciousness and behavior are domesticated by the "object of obsession" and eventually instrumentalized.

Meat Jelly is a collaborative project I did with performance artist Aiping Xu and sound artist Unitrip . Base on the theme “Sympoiesis”， the starting point of contemplation is the impact of human activities on the world and how it, in turn, affects the human body and life. Regardless of how expansive consciousness may be, the human body is ultimately vulnerable. The "Body Installation" aims to depict the appearance of the human body after being consumed by the environment—unprotected, alienated, fragmented, proliferating, and in a "non-human" form.The mandala symbolizes eternity, serving as a totem of judgment, intent to present a spiritual and universal atmosphere.

Through the combination of three wearable sculptures and performances, this work discusses the impact of social discipline, power hierarchy, and class solidification on individual's consciousness and behavior. At the same time, it reveals  the repetitiveness, futility, oppression and caution of individual behavior under discipline

Use body language to present some complicated and mixed emotions in various condition and process of "relationship".

Conditions & Emotions include： Seek (interwoven with test), chase (including heartbreak), hug (including escape), keeping a distance (including suspicion and anxiety), balance (concealing crisis), touch (intimate or parting).

By attaching the frame to the tripod through an L-shaped steel and documenting the process of climbing Jingshan, this project discusses the scale of the image, the persistence of the image, and the boundary of the image.

JingShan is an artificial mountain located right behind of Forbidden City. In its observation deck, tourists could get a great panorama view of Forbidden city.