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Video Installation    7’10   

The work is presented in a kitchen. 
When the domestic scene becomes the vehicle and a part of the work, has it dissolved the boundary between reality and virtuality? 
I employ the dimensional and perceptional discrepancies between the two spaces, in order to connect the real on-site experience and the virtual players’ angle in the game, so that when the audience watches the role trying to escape the virtual world inside the game, he or she may have the similar doubts to the real world.

The game tells the story of escaping. It’s about how a role trapped in the game manages to escape the endless cycles in the virtual world. 
Usually, games are designed to employ the first-person narrative to reinforce the audience’s experience. However, the audience also loses his or her own “body” at the same time. We can’t see our faces or bodies. Rather, we only see the virtual objects in the game. 
The work features the player in the game. As he or she completes the tasks one by one, due to bugs in the game, the player realizes that he or she is trapped inside the endless cycles of the game. While the player becomes fully aware of it, he or she is forced to restart again and again. In the end, the player manages to destroy the virtual space violently. But when the game is finally demolished, the audience thereby sees that the last image shows the real scene where the audience sits.  
The reality is the endless cycle.

该作品展出在厨房中,当生活场景成为作品 展示的载体,又成为作品的一部分时,现实 与虚拟的边界是否真正的被形态消融? 该作品利用两个空间的维度和观众视角的差 异,将观众的临场感与游戏虚拟视角中的真 实性相互连接,把厨房游戏叙事化再放入一 个去除功能的真实厨房中展出,让观众观看 游戏主角试图逃离游戏世界的同时,对他们 所在的现实世界产生相同的质疑。

该作品利用游戏中所设定的“第一人称”视角进行叙事,看不见身体的角色“我”在不断完成 厨房游戏任务的同时,由于游戏中的错误与闪回,让主角渐渐发觉自己正被困在无尽地游戏循 环中,意识觉醒的同时“我”不得不被强制重启。最后主角利用游戏中的时间缝隙对游戏进行 破坏,而当游戏世界被真正毁灭时,观众可以从屏幕中看到,影像的画面显示的却是观众本人 所在的现实场景。

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