NO QUARTER


Zhou Yan set up an intranet in The Bunker which has no signal from the outside world. He transformed the space into a form of internet café, and built a first person shooter game on this local network platform.

Each visitor to The Bunker can join in the game. Posted on the wall of each room, rules indicate the game’s objective, environment, procedure, and reward. The screen in the first room shows the position of each player in real time, while the computer at the end of the last passageway displays players’ ranking, and its account is General Yasuji Okamura’s, the infamous wartime occupant of The Bunker. No Quarter takes the history of Bunker Space as its research subject, while weaving elements of the process into the narrative of the game.

The claustrophobic interior of the art space is compounded by the closed nature of the computer network, creating a virtual echo chamber. This is a place where history, ideology, and personal attitudes can be discarded, examined, or dissected in the process of playing a game.




竞技场


周岩在掩体这个没有通讯信号的封闭环境里设置了一个内部局域网,把整个掩体空间布置成了网吧的形态,基于内部局域网搭建了一个网络对战游戏平台。

每个进入掩体的人都可以参与到对战游戏中来。掩体每个房间的墙上都张贴了对战游戏规则,规定了对战的目标、环境、方式与奖励回报。放置在掩体第一个房间地上的屏幕显示了对战人员的动态位置图,最后一个通道尽头放置的电脑显示了对战人员的死亡排名,这台电脑的用户名是冈村宁次。作品以掩体空间的过往历史为研究对象,并把思考线索植入进游戏的叙事方式之中。

艺术家力图引导观众通过网络对战游戏的方式释放个体情绪,利用现实、历史、个人的情感和精神相互作用生成的幻象获得重塑历史的满足。进而对封闭环境中群体、个体意识的生成重新审视和剖析。


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