McaM 展览丨游戏的人 Player Of Beings

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 巡礼70年人类电子游戏史 

 当代艺术“头号玩家”同台 

 两代游戏爱好者的线下狂欢 

 年度“快乐疗愈”大展 

明当代美术馆将于2020年12月12日推出跨年度大展《游戏的人》。

展览聚集了aaajiao、曹斐、冯梦波、邵志飞（Jeffrey Shaw）、JODI、陆扬、郑国谷等一批活跃在国际当代艺术前沿的“头号玩家”以及多位青年艺术家，探讨游戏、社会变迁与人之间的关系，见证技术的演变。
展览同时将以大面积空间巡礼从反斗城、红白机、街机到网络游戏、电竞等形式的70余年人类游戏体验发展史，以沉浸式体验唤醒两代人关于游戏生活的宝贵记忆，成为游戏爱好者的线下狂欢节。

2020年12月12日 -2021年3月28日
策展人：邱志杰、陈抱阳
参展艺术家：aaajiao、曹斐、陈厚闻+崔业成+祁子航+刘金星+廖紫菱+武婧仪、丁楠+雷剑豪+曲鸣飞、冯梦波、邵志飞、JODI、陆飞+孙浩+朱洽、陆扬、彭家园+王长城+王梦瑶、郑国谷

人类在学会直立行走前已经在追逐打闹中学会游戏，掌握工具后的人们把简单的立方体演化成为了最广泛的游戏。游戏与人们的关系短暂的离开了工具与技术的进步，转向在棋盘中构建思维训练场。人们追逐的不再是对方，而是胜者的荣誉。
“玩家旋转调整屏幕 CRT 光束的控制旋钮，玩家看到的光束会在屏幕上投射为一点。屏幕上的点代表飞机，玩家在有限的时间内按键向飞机开火。如果玩家按下按键时，光束射入预先设定的机械坐标，则 CRT 光束散焦，代表飞机爆炸。"——阴极射线管娱乐装置，1947
第一款电子游戏《阴极射线管娱乐装置》诞生时电脑还停留在纸带打孔的年代，旋钮与 CRT 光束为我们提供了屏幕与输入设备的基本框架。1972 年诞生的米罗华奥德赛将电子游戏从机房里的巨型主机带进了人们的客厅，而 5 年之后从车库里诞生的苹果与同年上市的雅达利 2600 则开启了至今仍争论喋喋的"主机 vs. 电脑"——谁才是真正的游戏王者。至此，电子游戏成为了人们生活的一部分。
在看待游戏、人、社会之间的关系前，不妨先从技术演变之下的界面入手。从《阴极射线管娱乐装置》，到《Pong》，到宏伟的世界大战，人们执着于在二维的屏幕上求真的表现我们的世界。平时的色块通过计算机图形学的锤炼变成可被实时追踪的光束。一维的旋钮与按键，二维鼠标与与摇杆，三维的体感设备，这些交互手段的进化是人们不断填补与电子游戏世界间歇的写照。
在坐标系的变化间，游戏消解着我们幻想未知，重温历史；锻炼着经营谋略，却进一步引发对智力的焦虑。在屏幕闪烁间，游戏成为人们联结彼此，连通万物的桥梁。通过新技术激活传统文化，游戏帮助我们穿越时间的界限。从抽象的时间维度走向广袤的地域， 游戏让我们注意到那些易被忽视的社会连接，滋养我们的同理心。离乡背井的追梦者们透过游戏认识新的朋友，与老友叙旧，感受老家饭桌边的温度。人们远离输赢，从单纯的爽快中学会认识世界、完善心智，游戏逐渐成为一种疗愈的方式。

 主办 

明园集团 

 

上海明当代美术馆 

 

 协办 

中央美术学院科技艺术研究院

 支持 

腾讯游戏 

 

TGC腾讯数字文创节 

 

 地点 

上海静安区永和东路 436 号

McaM上海明当代美术馆

扫码购买早鸟票

票价：90元

💰早鸟票：60元（限量80张）

2020.12.12-2021.03.28Curator: Qiu Zhijie, Chen Baoyang
Artists:aaajiao, Cao Fei, Chen Houwen+ Cui Yecheng+ Hao Zihang+ Liu Jinxing+ Liao Ziling+ Wu Jingyi, Ding Nan+ Lei Jianhao+ Qu Mingfei, Feng Mengbo, Jeffrey SHAW, JODI, Lu Fei+ Sun Hao+ Zhu Qia, Lu Yang, Peng Jiayuan+ Wang Changcheng+ Wang Mengyao, Zheng Guogu

Human beings have learned to play games through chasing each other before learned to walk upright. After mastering the use of tools, we transformed the simplest cube into a most extensive form of game. For a brief while, the relationship between game and human diverged from the evolution of tools and technology, and turned towards constructing a training field of thoughts on game boards. In stead of chasing each other, people started chasing the glory of victory, and then, what else?
“The player controls the CRT beam by adjusting the knobs, which change the trajectory of the beam spot on the display screen, representing artillery shell. The plastic targets overlaid on the screen represent objects such as airplanes. The player fires the beam spot arcing towards the airplanes within a time limit. If the CRT beam hits one of the target coordinates, then it defocuses, representing the explosion of the airplane.” —Cathode-ray tube amusement device 1947
When the earliest video game, the cathode-ray tube amusement device, was first invented, computers were still at a stage of reading punched tapes; while the knobs and the CRT beams already provided us the archaic interactive framework consisted of a display screen and an input device. The Magnavox Odyssey released in 1972 first brought video games into people’s living rooms from giant mainframes in the engine rooms. Five years later, the Macintosh born in the garage and the Atari 2600 which released the same year initiated a never ending rivalry in the gaming industry between “Console vs. PC”. And since then, video game has become a part of our lives.
Before examining the relationship between game, human and society, it is essential to first look at the gaming interface which progressed along with the evolution of technology. From the cathode-ray tube amusement device, to Pong, and to the epic wars, people seem to be obsessed with accurately representing our world on a two-dimensional screen. The common pixels have now been advanced with real-time ray tracing through 3D computer graphics. From one-dimensional knob and button, two-dimensional mouse and joystick, to three-dimensional motion sensor, the evolution of these interactive devices reflects a persistent desire to shorten the gap between reality and the game world.
Unravelling game among various systems of coordinates, we fantasize the unknown and revisit historical scenes; we exercises our tactics and strategies, yet sometimes further triggers our anxiety and stress. Beneath the flickering light of the screens, game has become a bridge, connecting people with each other and everything else. Activating traditional culture through the lens of new technology, game carries us to break the boundary of time. From the abstract dimension of time to the vast territory of land, game enables us to gain attention to social connections that often being overlooked, and cultivates our compassion. Dream pursuers who left their hometown get to make new friends in game, catch up with the old ones and re-encounter their motherlands . Aside from victory and defeat, players learn to perceive the world and become aware of themselves through the sheer pleasure of gaming, and game then gradually becomes a way of healing. 

ProducerLi Songjian, Ling Feifei
OrganizerMing Contemporary Art Museum (McaM), Ming Yuan Group
Co-organizerCAFA lnstitute of Sci-Tech Arts
SupporterTencent Games, Tencent TGC
VenueNo. 436, East Yonghe Rd, Jing’an District, Shanghai
Admission

Regular: 90RMB

💰Presale: 60RMB

*Limited to 80

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