1983 年生于重慶
2003 年就讀于四川美術(shù)學(xué)院油畫系綜合材料工作室
     現(xiàn)居重慶

群展
2006 坦克庫重慶當(dāng)代藝術(shù)中心
     一分鐘--青年藝術(shù)家實(shí)驗(yàn)影像藝術(shù)展
2006 深圳美術(shù)館
     嬉戲的圖像——2006中國(guó)當(dāng)代藝術(shù)邀請(qǐng)展
2006 重慶美術(shù)館
     嬉戲的圖像——2006中國(guó)當(dāng)代藝術(shù)邀請(qǐng)展
2006 中華世紀(jì)壇
     中國(guó)當(dāng)代藝術(shù)文獻(xiàn)展
2007 廣東美術(shù)館
     《“‘從西南出發(fā)’——西南當(dāng)代藝術(shù)展1985—2007”》
2007 上海美術(shù)館
     果凍時(shí)代
2007 藝術(shù)北京2007當(dāng)代藝術(shù)博覽會(huì)
2007 多倫美術(shù)館
     戲浪當(dāng)代藝術(shù)展
2007 上海當(dāng)代藝術(shù)館
     動(dòng)漫美學(xué)雙年展-從現(xiàn)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

游戲藝術(shù)
——王璽自述

最近在呂克貝松的新片上看到有一大段玩游戲的劇情，觸動(dòng)了我兒時(shí)的記憶。當(dāng)時(shí)最期盼的兩件事是玩游戲和看動(dòng)畫片：看動(dòng)畫片是可以正大光明地坐在電視機(jī)前定時(shí)接收，而玩游戲則刺激得多,因?yàn)樯鐣?huì)上太多的負(fù)面看法和評(píng)價(jià),以至于像玩涂鴉那樣需要躲過家長(zhǎng)、老師們的監(jiān)視，還得花掉所有的零花錢。即便如此，我還是義無反顧地投身其中，這正說明了游戲的亞文化魅力，已經(jīng)超越了各種制約和恐懼。目前在創(chuàng)作之余，我仍然常常關(guān)注游戲的各類信息，也不時(shí)玩一玩，迷戀于這種迅速的技術(shù)創(chuàng)新而帶來的持續(xù)快感與意義，所不同的是，我對(duì)動(dòng)畫片的熱情則漸漸淡化了。
雖然說，公共媒體對(duì)游戲的負(fù)面報(bào)道仍在不時(shí)出現(xiàn)，但是從另一個(gè)層面來談，我發(fā)現(xiàn)當(dāng)今游戲的發(fā)展階段，正與20世紀(jì)電影電視發(fā)展早期的境遇，存在著驚人般的相似。游戲的影響力不斷地在擴(kuò)大，與電影電視一樣深刻地改變了我們的視覺經(jīng)驗(yàn)和行為方式，其無限潛力正為藝術(shù)家提供了各種改變?nèi)藗儗?duì)藝術(shù)原有認(rèn)識(shí)的力量。由此，在我的裝置和繪畫作品中，“游戲”是主要的素材、方式和觀念，立足于探討游戲藝術(shù)的各種可能性，以及游戲與我們之間的關(guān)系，從而使其成為我研究“虛擬藝術(shù)”系統(tǒng)的切入點(diǎn)。
與赫斯特貫穿始終的生死線索下切入尸體系列一樣，我創(chuàng)作的每一類型作品都潛藏著游戲所獨(dú)有的形式規(guī)則：或是有情節(jié)性的角色扮演，或是玩家之間的策略較量，或者是關(guān)于游戲和玩家本身的實(shí)質(zhì)性思索。每一件作品都像一處現(xiàn)實(shí)的局部鏡像，并為這種鏡像和鏡像的主角構(gòu)建了一個(gè)具有生命力的視覺新形象，在此你或是我，或是他，或是你自己的你。游戲這種無限豐富和隨機(jī)的觀察方式，使得我對(duì)藝術(shù)現(xiàn)有創(chuàng)作手法的突破產(chǎn)生了濃厚的興趣，藝術(shù)的可能性是難以想象的，當(dāng)下其更新的發(fā)展方向不僅僅局限于新媒體藝術(shù)之中，或許游戲和游戲的方式將帶來新一輪的沖擊。

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王璽推薦詞

藝術(shù)的發(fā)展總是依賴著媒介技術(shù)的傳播手段。從視聽媒介、電影、家用電器到計(jì)算機(jī)、電子通訊設(shè)備，中國(guó)改革開放以還的二十多年，媒介技術(shù)的超速發(fā)展不僅改變了人類的生活方式、思維方式、行為方式乃至生存方式，而且拓展了科技與藝術(shù)的交互領(lǐng)域，尤其視覺藝術(shù)正由現(xiàn)實(shí)情境無限擴(kuò)張到虛擬空間。王璽正是伴隨這場(chǎng)大變革而生長(zhǎng)起來的藝術(shù)家，他敏銳地感知到視覺藝術(shù)在“新媒介文明”時(shí)代里的特性地位，由傳統(tǒng)美學(xué)的價(jià)值標(biāo)準(zhǔn)的基礎(chǔ)上，運(yùn)用信息錯(cuò)位和重構(gòu)的虛擬概念，結(jié)合涂鴉藝術(shù)的手法和時(shí)效性的優(yōu)勢(shì)，以及中國(guó)藝術(shù)的精神內(nèi)涵，試圖通過新視覺的言說模式建立起關(guān)于人類與機(jī)器、現(xiàn)實(shí)、宇宙等的多重思考。
更值得關(guān)注的是，當(dāng)“虛擬”成為“現(xiàn)實(shí)”的時(shí)候，藝術(shù)家已經(jīng)在自覺與不自覺的過程中，輸入和輸出著有關(guān)藝術(shù)世界的幻像可能，并且從視覺經(jīng)驗(yàn)到處世心理建立起一套自我調(diào)適的原則。毋庸置疑，我們不僅沒必要去抵抗新媒介或者新技術(shù)對(duì)視覺藝術(shù)原有規(guī)則的沖擊，而且憑借這種新媒介的發(fā)展所開拓出來的——藝術(shù)從本體論到媒介論的新視閾，正是王璽的藝術(shù)給觀者的啟發(fā)。
近年來，王璽善于運(yùn)用“游戲”的表述方式，由純游戲中大眾互動(dòng)式體驗(yàn)拓展出全新的“游戲式”的敘事態(tài)度和想象能力，進(jìn)而從根本上承接安迪·沃霍、赫斯特、班克斯等人的觀念，又利用三維的思維空間和置換事物的形式手段，刷新了前輩在架上繪畫的局限，如同吉登斯所說的那樣：“現(xiàn)代性使個(gè)體遭遇到種種復(fù)雜的選擇，并且因?yàn)樗菬o原則的，因此它同時(shí)對(duì)于如何進(jìn)行選擇無法提供幫助�！痹谕醐t的藝術(shù)世界里，藝術(shù)不再是被動(dòng)地給予或者接受，任何人都有可能借助他的“游戲”視覺進(jìn)行個(gè)體選擇和體驗(yàn)，甚至成為創(chuàng)作這類“游戲”視覺的主體，再周而復(fù)始地延伸出更多的藝術(shù)可能性。至此，王璽不僅借用了“游戲”的語言邏輯，創(chuàng)造了“游戲”的視覺形象，而且介于虛實(shí)相間的“游戲式”交互空間中，盡可能地呈現(xiàn)新一代人對(duì)于當(dāng)今政治、經(jīng)濟(jì)、社會(huì)生活的玩味和改造，尤其是那些看似游戲人生的處事觀點(diǎn)，恰恰訴說著有關(guān)藝術(shù)主客體的新一輪顛覆與重構(gòu)，藝術(shù)又何止你，我，他？
邁出這樣的一步，視覺藝術(shù)已經(jīng)指向了更遙遠(yuǎn)的未來。

—— 盧緩

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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