15 Nov 社会游戏（Social Play）：中国美术学院跨媒体艺术学院开放媒体系×林茨电子艺术节
社会游戏
《社会游戏（Social Play）》探讨了“游玩（Play)”——作为一种人类古老的本能与文化实践——如何在数字艺术与游戏的重塑下，成为介入当代社会复杂性的批判性工具？展览的核心诘问是：在技术高度饱和的时代，我们应如何将植根于交互技术与人工智能的游玩（Play）机制，作为一面棱镜，去解码并重构被技术渗透的时代中的人际关系、集体焦虑与身份协商？
本次展览将”游玩”重新定义为社会探究的平台。五组中国新锐艺术家的作品系列融合了电子游戏、人工智能、网页与虚拟现实技术，直面数据驱动世界中的都市孤独、数字监控与记忆困境。《Electronic Womb》通过荒诞的抵抗来挑战带有性别偏见的人工智能审查，而《AI Hauntology》则为被遗忘的图像上演数字仪式，质疑记忆的脆弱性。《QRebirth 0.5》通过一场二维码主宰现实的VR之旅，批判了算法治理。《Before Mom Comes Home》使用潜行机制来探索童年的孤独，而《Mean World Syndrome》则将地铁通勤转化为关于城市疏离的推向性叙事。
通过模糊艺术、游戏、技术与行动主义的边界，《社会游戏》邀请观众不再仅仅作为旁观者，而是作为“玩家”亲身穿越这些紧迫的议题：我们的数字仪式掩盖了何种真相？在将我们化约为数据节点的系统中，我们如何夺回能动性？最终，这种“游戏性”的颠覆，能否为我们开辟出一条通往更具同理心、更公正的未来之路？
本展览系第八届国际跨媒体艺术节先导活动。
Social Play
Social Play interrogates how play—as a primal human instinct and cultural practice—can be reconfigured through digital art and gaming to critically engage with contemporary societal complexities. At its core, the exhibition asks: How can the mechanics of play, embedded in interactive and AI technologies, serve as a lens to decode and reimagine human relationships, collective anxieties, and identity negotiations in an era of rapid technological saturation?
The exhibition reframes “play” as platforms for social inquiry. Five projects by emerging Chinese artists merge video game, AI, website and VR to confront urban isolation, digital surveillance, and memory in a data-driven world. Electronic Womb challenges gendered AI censorship via absurdist resistance, while AI Hauntology stages digital rituals for forgotten images, questioning memory’s fragility. QRebirth 0.5 critiques algorithmic governance through a VR journey where QR codes dominate reality. Before Mom Comes Home uses stealth mechanics to explore childhood loneliness, and Mean World Syndrome transforms subway commutes into speculative narratives of urban detachment.
By collapsing boundaries between art, game, AI and activism, Social Play invites audiences to “play” their way through urgent questions: What truths do our digital rituals conceal? How do we reclaim agency in systems that reduce us to data points? And ultimately, can “playful” subversion forge pathways toward more empathetic futures?
艺术家 /Artists
蔡宇潇 Rhett Tsai
蔡雨轩 Cai Yuxuan
曹澍 Cao Shu
陈健睿 Chen Jianrui
陈鹏帆 Chen Pengfan
陈煜凯 Chen Yukai
崔林涛 Cui Lintao
甘亦心 Gan Yixin
金涛 Jin Tao
金哲新 Jin Zhexin
阚梓菡 Kan Zihan
李姝霖 Li Shulin
宋天悦 Song Tianyue
王欣月 Wang Xinyue
魏菡萏 Wei Handan
魏唯 Wei Wei
吴璠 Wu Fan
谢宇彤 Xie Yutong
张喆楠 Zhang Zhenan
赵梓霖 Zhao Zilin
周芝桦 Zhou Zhihua
武子杨 Ziyang Wu
策展人 /Curators
武子杨 蔡宇潇 曹澍
Ziyang Wu, Rhett Tsai, Cao Shu
策展助理 /Curatorial Assistants
蔡雨轩 阚梓菡 宋天悦
Cai Yuxuan, Kan Zihan, Song Tianyue
视觉设计 / Visual Design
蔡宇潇 蔡雨轩
Rhett Tsai, Cai Yuxuan
宣传片制作 / Promo Video Production
宋天悦
Song Tianyue
主办 / Organizer
中国美术学院跨媒体艺术学院
林茨电子艺术节
School of Intermedia Art, China Academy of Art,
Ars Electronica Festival
展览时间 / Date
2025年9月3日—9月7日
September 3-7, 2025
地点 / Venue
林茨艺术设计大学 8号主广场
Hauptplatz 8, University of Art and Design Linz
Project 1
(In)audible Crossings
（不）可听之渡
Rhett Tsai (蔡宇潇), Wei Wei (魏唯), Wu Fan (吴璠), Zhao Zilin (赵梓霖), Zhang Zhenan (张喆楠)
《（不）可听之渡》旨在撕开城市中普遍存在的冷漠与地缘政治僵局的伪装。作品通过两个并置的场景——地铁车窗中映射的影像，以及一位在象征性的桥梁上昏昏欲睡的司机——揭示了整个社会麻木的疏离感，以及对人际联结的肆意忽视。与此同时，全球边界依旧脆弱，紧张的局势在自满的表象下暗流涌动。这件系列作品迫使我们直面那个令人不安的真相：尽管我们的分歧已根深蒂固，但我们依然拒绝从沉睡中醒来。
(In)audible Crossings blasts open the veneer of urban apathy and geopolitical paralysis. Through subway reflections and a sleeping driver crossing a symbolic bridge, it exposes society’s numbed detachment and reckless neglect of human connection, while global borders remain fragile, tension simmering beneath complacency. This work demands that we confront the uncomfortable truth: our divisions run deep, yet we refuse to wake up.
《（不）可听之渡》包含两件作品：
1.《卑鄙的世界》（魏唯、吴璠、赵梓霖、张喆楠）
2.《鼾桥》（蔡宇潇）
(In)audible Crossings consists of two pieces:
1. Mean World Syndrome by Wei Wei, Wu Fan, Zhao Zilin, Zhang Zhenan
2. Dozing Overpass by Rhett Tsai
Project 2
Before Mom Comes Home
妈妈回家之前
Chen Pengfan (陈鹏帆), Wang Xinyue(王欣月), Cai Yuxuan(蔡雨轩), Cui Lintao(崔林涛), Gan Yixin (甘亦心)
《妈妈回家之前》是一款以第一人称视角展开的潜行游戏通过环境叙事的手法，深入探讨了“留守儿童”这一群体所经历的情感创伤。玩家将扮演一名孩子在孤独的世界中穿行，并发现一个被封锁的地下室，而这个地下室正是孩子内心挣扎的外化表现——其中充满了怪物般的实体。作品运用了环境隐喻、记忆物件和多重结局等方式，描绘了父母缺席对孩子造成的深远影响，以及他们对爱的深切渴望。同时，作品以“躲猫猫”这一核心机制，审视了家庭与社会之间复杂的互动关系。
This first-person stealth game titled Before Mom Comes Home explores left-behind children’s emotional trauma through environmental storytelling. Players navigate a child’s solitary world, discovering a sealed basement that manifests psychological struggles as monstrous presences. Environmental metaphors, memory objects, and multiple endings depict the impact of parental absence and yearning for love, using hide-and-seek mechanics to examine complex family and societal relationships.
Project 3
QRebirth 0.5
Chen Jianrui (陈健睿), Chen Yukai (陈煜凯), Jin Tao (金涛)
《QRebirth 0.5》的叙事始于一片虚空，当观众扫描一辆黄色共享单车的二维码时，便开启了一段神秘的旅程。在扫码的瞬间，用户转化成了“机器”与“人工智能”，在一个由0和1构成的二进制二维码城市中穿行。随着二维码的无限扩散，人类逐渐将诠释现实的权力让渡给人工智能，自身则沦为旁观者 。我们所谓的“真实”，是否仅仅是在创造一个更高维度的幻象？随着三维码（3D QR Codes）技术的发展，它是否会限制我们从城市空间中获取数据的维度？在这场无休止的数字革命中，人与机器的动态关系又将如何演变？
In QRebirth 0.5, the narrative takes place in a void where scanning a yellow bike’s QR code begins a mysterious journey. This scan turns the user into “machines” and “AI,” navigating a binary QR-city of 0s/1s. As QR codes spread, humanity cedes reality interpretation to AI, becoming mere observers. Is our “truth” just crafting higher-dimensional illusions? With 3D QR Codes advancing, will they limit urban data? How will human-machine dynamics evolve in this endless digital revolution?
Project 4
Electronic Womb: Cyber Discipline and Nüwa’s Awakening
电子宫：赛博规训与女娲的觉醒
Cai Yuxuan (蔡雨轩), Song Tianyue (宋天悦), Wei Handan (魏菡萏), Xie Yutong (谢宇彤), Zhao Zilin (赵梓霖), Zhou Zhihua (周芝桦)
这个多媒体艺术项目探讨了赛博女性主义，剖析了数字系统如何规训女性经验，同时也揭示了抵抗的潜在路径。项目融合了三个部分：首先，它通过人工智能对中国神话中的“女娲叙事”进行再创造，以挑战根深蒂固的刻板印象；其次，它上演了一场实时的人工智能审查对抗，将“不当”内容转化为荒诞的形式，以此绕过审查机制；最后，它通过一个互动游戏，将监控的概念与社会对吸烟女性的普遍看法联系起来。该项目最终凸显了赛博女性主义在数字领域中重塑身份认同的多种策略。
This multimedia project explores cyberfeminism, dissecting how digital systems discipline female experiences while offering paths of resistance. It fuses an AI reimagining of the Chinese goddess Nüwa to challenge stereotypes, a live AI censorship battle that alters “inappropriate” content into absurd forms to bypass media censorship, and an interactive game that grounds surveillance concepts in the social perceptions of women who smoke. The project highlights cyberfeminist strategies for reclaiming identity in digital realms.
《电子宫：赛博规训与女娲的觉醒》包含三件作品：
1.《女娲补天新编》（蔡雨轩）
2.《BLACK LUNG STORY》（宋天悦、魏菡萏、谢宇彤、周芝桦）
3.《规则与反抗的双人舞》（赵梓霖）
Electronic Womb: Cyber Discipline and Nüwa’s Awakening consists of three pieces:
1. Nüwa by Cai Yuxuan
2. BLACK LUNG STORY by Song Tianyue, Wei Handan, Xie Yutong, Zhou Zhihua
3. The Eternal Tango of Rules and Rebellion by Zhao Zilin
Project 5
AI Hauntology
AI 魂在学
Cao Shu (曹澍), Chen pengfan (陈鹏帆), Jin Zhexin (金哲新), Kan Zihan (阚梓菡), Li Shulin (李姝霖), Song Tianyue (宋天悦), Wang Xinyue (王欣月), Ziyang Wu (武子杨)
《AI魂在学》揭示了算法中那些挥之不去的幽灵，它们不断复活着历史上与持续至今的种种暴力。该项目通过多种形式展现这些算法的幽灵：它利用数据的具象化，构建了一场与死亡的“死亡政治（necropolitical）”相遇；它通过生成性算法的扭曲，将核辐射的鬼影物质化；它借助叛乱性的生物智能，解构了无处不在的监视基础设施；最后，它将金融化所带来的异化感，巧妙地嵌入到交互界面的幻象之中。这些幽灵般的haunting 现象，打破了技术资本主义高歌猛进的幻梦，迫使我们正视算法现代性中那些早已腐朽的残余。
AI Hauntology unveils algorithmic specters resurrecting historical and ongoing violences: staging necropolitical encounters with death through datafication; materializing radiation ghosts via generative distortions; dismantling surveillant infrastructures through insurgent biological relays; and embedding financialized alienation within interface illusions. These hauntings rupture technocapitalist progress, forcing confrontation with necrotic residues within algorithmic modernity.
《AI魂在学》包含四件作品：
1.《走马灯》（陈鹏帆,、金哲新、宋天悦、王欣月）
2.《你付宝》（阚梓菡、李姝霖、金哲新）
3.《扩散》（曹澍）
4.《鸽子传奇-<阿加尔塔>之后100年发生的一些故事》（武子杨）
The project AI Hauntology consists of four pieces:
1. Trained Nihil by Chen Pengfan, Jin Zhexin, Song Tianyue, Wang Xinyue
2. A!nipay by Kan Zihan, Lin Shulin, Jin Zhexin.
3. DIFFUSION by Cao Shu
4. Pigeon Legend by Ziyang Wu