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?

Big Game 将performance， face paint 和 costume 融合，置人游戏氛围的背景 中。缓缓运动的绿色网格也是原始虛 拟世界的象征。Costuemn 是规则，限 制的隐喻。支配权力存在于无形。作 品借由游戏的操控需求及精确算法的 属性来讨论社会规范，固化阶级，及 高度重复性的现代生活的虚无和局 限。 在计算机游戏中，玩家通过操纵虚拟 人物来完成任务，虚拟人物是玩家意 识的投影。在现实生活中，人类一代 又一代地在 “正确”的时间做着类似 的重复性的例行公事，一切看起来都 经过精心计算，就像一场游戏。创作 者不禁提问，我们是否是他人意识的 投射？谁在操纵我们并获得满足？

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.

Yugi站在北京地铁2号线的月台上，张开双臂， 以直接干预的方式呈现“常识”及“规则”在日 常生活的中对个体意识和行为的塑造；功能，个 体，与群体之间的关系，及“规则” 被打破后， 周遭群体的反应，最终走向权力与个体的对峙。

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.

用可变"身体装置"讨论个体被工具化 当代生活充斥着时刻更新的，过载的碎片化信息；消费主义诱惑；以 及工作对个体时间的剥削。

在中国大互联网公司中，每个员工在其中以“花名”相称，个体信息 被抹去，一周6天，并包含大量加班的的工作制度，个体时间几乎被工 作填满，但在社会压力及经济回报下，个体心甘情愿成为高速运转的 公司系统中的一个螺丝钉。

Immortal Game 以对衣服的迷恋为隐喻，讨论个体在追求痴迷之物 的过程中逐渐失去自我，个体的意识和行为被"迷恋之物”到化，使个 体被工具化。

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.

基于本次主题“共生” (Sympoiesis)，Meat Jely 的思考起点是：人类活动对世界造成的改 变，反过来对人类肉体和生活产生的影响。无 论意识多么广博，人类肉身终究脆弱。Body Installation 意图呈现出人类肉体被环境反噬 后的样貌，无保护的，异化的，破碎的，增生 的，“非人形”的形态。 地盘象征永恒，是审判的图腾。意图呈现 spiritual 和universal 的氛围。

collaborate with 行为艺术家Aiping Xu，和声音艺术家Unitrip

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

在Vermont studio center 艺术家驻留期间做的作品。通过三件“可穿戴雕塑” “facepaint” 和performance的融合， 论社会规训，权力等级，和阶层固化对个体行为的塑造。同时展现个体 行为在规训下的重复性，徒劳感，被压迫感和小心翼翼。

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).

用body language 来呈现“关系” • 中的一些心绪交杂的阶段和状态。 包含：寻觅（交错着试探），追逐（包含心碎），拥抱(包含逃离），保持距离（包含怀疑与焦灼），平衡（潜藏危险），触摸（亲密或离别）

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.