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Born and grown in Beijing, I have witnessed many transformations of the city’s outlook, from the first wave of demolitions of traditional residential buildings (Hu Tong) in the mid 90s to the expansion of ring roads that stretch to the city’s outskirt. Currently, I am researching the ways in which governmental protocols of urban planning impose displacement on the residents of the city. Beijing started a radical urban reform early 2017 that involves sealing off the facades of many street-level businesses in the inner-city area as part of the beautification project of the capital. Many businesses, with some of which are in fact previously remodeled from residential units – a phenomenon taken place under a different policy a decade earlier, are shut down. The enforcement of governmental policy is like water, permeating into different layers of social structures. Right now, the sense of nostalgia and the progressive ideology for development have become a mixed scene that affects lots of lives. In my work “010”, I try to dwell on this contradictory sensibility.
“010” is my attempt to use interactive technology to discuss the nostalgia of media. In this game art work the player can explore freely in and between four different scenes, which are constructed according to either my childhood memories or the aesthetics of futuristic films.
“010” is on view in group exhibition “CLEAN” at SPURS Gallery, Beijing, now through May 17, 2020.
