1983 年生于重庆
2003 年就读于四川美术学院油画系综合材料工作室
     现居重庆

群展
2006 坦克库重庆当代艺术中心
     一分钟--青年艺术家实验影像艺术展
2006 深圳美术馆
     嬉戏的图像——2006中国当代艺术邀请展
2006 重庆美术馆
     嬉戏的图像——2006中国当代艺术邀请展
2006 中华世纪坛
     中国当代艺术文献展
2007 广东美术馆
     《“‘从西南出发’——西南当代艺术展1985—2007”》
2007 上海美术馆
     果冻时代
2007 艺术北京2007当代艺术博览会
2007 多伦美术馆
     戏浪当代艺术展
2007 上海当代艺术馆
     动漫美学双年展-从现代性到永恒

RESUME (Wang Xi)
Born in 1983, CHONG QING. China.
2003-2007 Studied in ShiChuan Fine Arts Institute
synthesize stuff studio of canvas department
Currently live in Chongqing
2006------ Tankloft (Chongqing Comtempory arts center)
One minute---young artist experiment media show
2006------ ShenZhen Art Museum
Frolic Picture-2006 Contemporary Art of China Invitation Exhibition collection
2006------ ChongQing Art Museum
Frolic Picture-2006 Contemporary Art of China Invitation Exhibition collection
2006------ China Millennium Monument BeiJing
Chinese contemporary arts literature exhibition
2006------ GuangDong Art Museum
Departure fron Southwest -? Contemporary Arts exhibition of Southwest China 1985-2007
2007------Shanghai Art Museum
Inf Antization
2007-----ART BEIJING 2007
2007-----Shanghai Duolun Museum Of Modern Art all reserved
The revelling waves
2007-----MOCA shanghai
Animamix Biennial:From Modernity to Eternity

游戏艺术
——王玺自述

最近在吕克贝松的新片上看到有一大段玩游戏的剧情，触动了我儿时的记忆。当时最期盼的两件事是玩游戏和看动画片：看动画片是可以正大光明地坐在电视机前定时接收，而玩游戏则刺激得多,因为社会上太多的负面看法和评价,以至于像玩涂鸦那样需要躲过家长、老师们的监视，还得花掉所有的零花钱。即便如此，我还是义无反顾地投身其中，这正说明了游戏的亚文化魅力，已经超越了各种制约和恐惧。目前在创作之余，我仍然常常关注游戏的各类信息，也不时玩一玩，迷恋于这种迅速的技术创新而带来的持续快感与意义，所不同的是，我对动画片的热情则渐渐淡化了。
虽然说，公共媒体对游戏的负面报道仍在不时出现，但是从另一个层面来谈，我发现当今游戏的发展阶段，正与20世纪电影电视发展早期的境遇，存在着惊人般的相似。游戏的影响力不断地在扩大，与电影电视一样深刻地改变了我们的视觉经验和行为方式，其无限潜力正为艺术家提供了各种改变人们对艺术原有认识的力量。由此，在我的装置和绘画作品中，“游戏”是主要的素材、方式和观念，立足于探讨游戏艺术的各种可能性，以及游戏与我们之间的关系，从而使其成为我研究“虚拟艺术”系统的切入点。
与赫斯特贯穿始终的生死线索下切入尸体系列一样，我创作的每一类型作品都潜藏着游戏所独有的形式规则：或是有情节性的角色扮演，或是玩家之间的策略较量，或者是关于游戏和玩家本身的实质性思索。每一件作品都像一处现实的局部镜像，并为这种镜像和镜像的主角构建了一个具有生命力的视觉新形象，在此你或是我，或是他，或是你自己的你。游戏这种无限丰富和随机的观察方式，使得我对艺术现有创作手法的突破产生了浓厚的兴趣，艺术的可能性是难以想象的，当下其更新的发展方向不仅仅局限于新媒体艺术之中，或许游戏和游戏的方式将带来新一轮的冲击。

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王玺推荐词

艺术的发展总是依赖着媒介技术的传播手段。从视听媒介、电影、家用电器到计算机、电子通讯设备，中国改革开放以还的二十多年，媒介技术的超速发展不仅改变了人类的生活方式、思维方式、行为方式乃至生存方式，而且拓展了科技与艺术的交互领域，尤其视觉艺术正由现实情境无限扩张到虚拟空间。王玺正是伴随这场大变革而生长起来的艺术家，他敏锐地感知到视觉艺术在“新媒介文明”时代里的特性地位，由传统美学的价值标准的基础上，运用信息错位和重构的虚拟概念，结合涂鸦艺术的手法和时效性的优势，以及中国艺术的精神内涵，试图通过新视觉的言说模式建立起关于人类与机器、现实、宇宙等的多重思考。
更值得关注的是，当“虚拟”成为“现实”的时候，艺术家已经在自觉与不自觉的过程中，输入和输出着有关艺术世界的幻像可能，并且从视觉经验到处世心理建立起一套自我调适的原则。毋庸置疑，我们不仅没必要去抵抗新媒介或者新技术对视觉艺术原有规则的冲击，而且凭借这种新媒介的发展所开拓出来的——艺术从本体论到媒介论的新视阈，正是王玺的艺术给观者的启发。
近年来，王玺善于运用“游戏”的表述方式，由纯游戏中大众互动式体验拓展出全新的“游戏式”的叙事态度和想象能力，进而从根本上承接安迪·沃霍、赫斯特、班克斯等人的观念，又利用三维的思维空间和置换事物的形式手段，刷新了前辈在架上绘画的局限，如同吉登斯所说的那样：“现代性使个体遭遇到种种复杂的选择，并且因为它是无原则的，因此它同时对于如何进行选择无法提供帮助。”在王玺的艺术世界里，艺术不再是被动地给予或者接受，任何人都有可能借助他的“游戏”视觉进行个体选择和体验，甚至成为创作这类“游戏”视觉的主体，再周而复始地延伸出更多的艺术可能性。至此，王玺不仅借用了“游戏”的语言逻辑，创造了“游戏”的视觉形象，而且介于虚实相间的“游戏式”交互空间中，尽可能地呈现新一代人对于当今政治、经济、社会生活的玩味和改造，尤其是那些看似游戏人生的处事观点，恰恰诉说着有关艺术主客体的新一轮颠覆与重构，艺术又何止你，我，他？
迈出这样的一步，视觉艺术已经指向了更遥远的未来。

—— 卢缓

The development of art always relies on the communication means of medium technique. From audio visual media, films, household appliances to computers and electric communication equipments, in the over 20 years since China’s opening-up, the over-speed development of media technology not only changes the ways of living, thinking, behaving and even surviving, but also extends to the intercrossing field between science & technology and arts, particularly, visional arts are expanding from real situation to virtual space. Wang Xi is an artist growing up along this revolution. He subtly feels the special status of visional arts in the era of “new media civilization”. Based on the value standard of traditional aesthetics, he tries to establish multiple considerations over human beings and machinery, reality, universe, etc. by the way of suitable mode of new vision, applying the virtual concepts of information intercrossing and restructuring, combining the technique of doodle arts and the advantage of timeliness, and spiritual connotation of Chinese arts.
What should be noticeable is that when “the virtual” becomes “the real” the artists have consciously or unconsciously received and conveyed the phantom possibility in arts field, and established a set of self adjustment principles which are drawn out in the artists’ own vision experiences and psychology of their life principle. Undoubtedly, it is unnecessary to resist the impact of new media or new technology to visional arts, and that the new vision of art from ontology to medium theory born from the new medium is the exact elicitation of Wang Xi’s art to the viewers.
In recent years, Wang Xi is adept at applying the expression method of Game, having developed the completely-new Game-type narration and imagination from the experience of mass interaction in pure games, and further succeeds the concepts of Andy Warhol, Hearst and Banks etc., moreover, he breaks the predecessor’s limitation of drawing on the easel through the 3D thought space and displacement method. And just as Giddens said, “Modernity makes the individual encounter various complex choices, while its non-principle does no good in their dilemma.” In the art world of Wang Xi, art does not mean to offer or accept passively any more. It is made possible that each one can individually select and experience through his Game vision, or even to become the very creator of such Game vision and then extend to more art possibilities again and again. Thus, Wang Xi has not only borrowed the linguistic logic of Game and created the visual image of Game, but also revealed the new generation’s enjoyment and reconstruction of the modern politics, economy and social life in the Game-based interaction between the virtual and real, especially those seemingly playful life attitude actually tell a new round of turnover and reconstruction concerning the main body and object of art. Therefore, how can arts be limited to just you and me?
Visional arts have pointed to a more distant future after such a step.
--Lu Huan

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