The thrust of Game is the deconstruction of presentation and observation in different media, and displayed in nonlinear narratives: from the comparison between images photographed by cameras and computer-generated images to the track of camera positions in live sports on television, and then emulation of human eyes in first-person shooter games. The work intends to, by comparing these borrowed heterogeneous images with montage, unroll the mechanism, iteration, and recurrence behind, as well as the position and corresponding perspectives of observers. “How is the world represented by images? How does the represented world reconstruct the way we observe?“ It is hard to answer the question, Game is a humble attempt.

《遊戲》作品的核心是對於不同媒介中“呈現”與“觀看”的解構與分析，並以一種非線性的敘述而展開：從傳統攝影到電腦生成圖像(CG)的比較，從體育賽事電視轉播中攝影機位置的追蹤，到第一人稱射擊類遊戲中對人眼的模仿。作品試圖通過對這些不同圖像的挪用與對比討論圖像背後的生產機制與叠代關系，以及觀察者所處的位置與其所持有的視角。“世界是如何被圖像所再現的？再現的世界又如何重構了我們觀看方式？”是一個很難被回答的問題，《遊戲》是對於這個問題的一次謙遜的嘗試。

Zheng Yuan lives and works in Beijing. He received his master’s degree from the School of the Art Institute of Chicago in 2015. Working primarily in time-based media, Zheng often operates at the intersection of fiction, documentary, and investigative research. His work focuses on the relationships between identity and value systems within different historical, social, and political conditions. In 2017, he began the “China Northwest Airlines” project, an attempt to process the history of China’s recent economic transfonnBtion through the prism of the civil aviation industry, in particular the story of a failed airline based in his home region of China’s northwest.

His recent solo exhibitions include Forward, Backward, Madeln Gallery, Shanghai, 2020; Up in the Air, Taikang Space, Beijing, 2017. Group exhibitions and screening include The Future is Here, Are You Coming?, University of Chicago, Chicago, 2022; E-Flux Screening roorn, New York, 2022; Between Sci-fi and illusory, MAXXI Museum, Rome, 2022; Future Tense: Microcinema event, War hoi Museum, Pittsburgh, 2022; Double Vision, Tai Kwun – Centre for Heritage and Arts, Hong Kong, 2022; Diriyah Biennale, Riyadh, 2021; A Long Hello, UCCA, Beijing, 2020; UN/ CONVENTIONAL: OCAT x KADIST Emerging Media Artist Exhibition, OCAT Shanghai, Shanghai, 2020; The Mesh, chi K11 Art Museum, Shanghai, 2019; OFFLINE BROWSER – The 6th Taiwan International Video Art Exhibition, Hong-gah Museum, Taipei, 2018; New Metallurgists,Stoschek Collection, Dusseldo戊 2018. “Long March Project – Building Code Violations III Special Economic Zone’: Long March Space, Beijing, 2018. His works are also screened at film festivals and online platforms, including Visions du Reel, 2021; Arkipel Festival, 2021; Crashing into the Future, e-flux Artist Cinemas, online, 2021; Hasty Falling Time, 5th floor, Centre d’Art Contemporain Geneve, online, 2020; Out of Blueprints, Serpentine Galleries x NOWNESS, online, 2020; International Short Film Festival Oberhausen, 2019; Kasseler Dokfest, 2019; 25 FPS Festival, 2019; Ann Arbor Film Festival, 2017. He was awarded the Jury Award at the 8th Huayu Youth Award 2020.