Shanghai Duolun Museum of Modern art is pleased to announce the launch of Conscious Game at 3pm， 23rd， March， 2019. Those works on display include paintings， installations and digital animations from Ao Guoxing， Cao Yuanming， Ji Wenyu & Zhu Weibing， Li Zhenhua & Dong Shi， Shi Miaomiao， Wang Qieer， You Ada. This exhibition will present artists in-depth experience and observation towards established reality and regulation in a gameful attitude. These works are seemingly playful imitation， response， doubt， breakthrough and reconstruction of life， human nature， social and cultural reality. Jean Piaget， Swiss psychologist， once put forward the concept of imagination games in child cognitive psychology of which the main idea is about how children absorb ideas and concepts and then apply them into imaginary world. In the field of art， both the game theory about the art origin in the history of Western art and the traditional Confucian aesthetic view of roaming in art naturally advocate the purity and non-utility of game so as to emphasize the goal of human pursuit of spiritual freedom. Imagination game is both gameful， that is non-utilitarian and purposeless， and feigned， that is welldesigned and premeditated. In playing imagination games， children tend to follow a set of established rules， and they can tell fiction from reality. Conscious game not only presents artists attitude， but also their strategy and courage. Under the shelter built with the attitude of gamification， artists are proficient in established rules and constantly test and challenge fixed rules and limits to reconstruct new values and systems. Using a gamification strategy in the state of drifting， artists exploration and challenges are faced with not only the established rules of art language and the benchmark in art history， but also the countless inherent frames and systems of real life and daily thinking.

Conscious Game not only brings us more unconventional thinking and possibilities， but also provides an open door for the public to enter the creation of artists in an interesting way. It is precisely the works generated from the attitude and position of conscious game that unwittingly break the established thinking mode of the audience， making the audience think from the perspective of the artist， and smile or think deeply at the moment of communication with the creative thinking of the artist.

The exhibition will last till 19 May， 2019.

“假裝游戲”于2019年3月23日下午15時(shí)在上海多倫現(xiàn)代美術(shù)館開幕，本次展覽由上海多倫現(xiàn)代美術(shù)館主辦，將展出藝術(shù)家敖國(guó)興、曹原銘、計(jì)文于、朱衛(wèi)兵、李振華、董師、石苗苗、王切爾、尤阿達(dá)創(chuàng)作的繪畫、裝置和影像作品。本次展覽試圖呈現(xiàn)一種游戲化的態(tài)度或方式下藝術(shù)家對(duì)既定現(xiàn)實(shí)與規(guī)則的深度體驗(yàn)和觀察，是以作品對(duì)生命、人性、社會(huì)和文化現(xiàn)實(shí)的看似“游戲化”的模仿、回應(yīng)、質(zhì)疑、突破和再造。

瑞士?jī)和睦韺W(xué)家讓·皮亞杰在兒童認(rèn)知心理學(xué)中提出過(guò)“想象游戲”的概念，其要義為：孩子從現(xiàn)實(shí)世界中吸收想法和概念，然后應(yīng)用到虛構(gòu)的世界中。在藝術(shù)領(lǐng)域中，不管是西方藝術(shù)史上關(guān)于藝術(shù)起源的“游戲說(shuō)”，還是傳統(tǒng)儒家對(duì)待藝術(shù)時(shí)“游于藝”的美學(xué)觀，都很自然地推崇“游戲”的純粹和非功利性，以此強(qiáng)調(diào)人類追求精神自由的目標(biāo)?！跋胂笥螒颉奔仁恰坝螒颉钡摹枪缘?、無(wú)目的的，同時(shí)又是“假裝”的——經(jīng)過(guò)了精心設(shè)計(jì)和事先考量的：因?yàn)樵凇跋胂笥螒颉敝?，孩子們雖然在玩假裝游戲，但他們都遵守著一套既定的游戲規(guī)則，他們能清楚區(qū)分什么是現(xiàn)實(shí)，什么是虛構(gòu)。在“假裝游戲”的概念中，“假裝游戲”呈現(xiàn)的既是藝術(shù)家的態(tài)度，也是藝術(shù)家的策略和勇氣：在以“游戲化”的姿態(tài)構(gòu)筑起來(lái)的安全掩體之下，藝術(shù)家既諳熟既定規(guī)則，同時(shí)又在不斷試探和挑戰(zhàn)既定的規(guī)則與底線，進(jìn)而重構(gòu)新的價(jià)值和體系。利用一種處于“漂移”狀態(tài)的游戲化策略，藝術(shù)家們的探索和挑戰(zhàn)不僅面對(duì)著藝術(shù)自身語(yǔ)言的既定規(guī)則、藝術(shù)史上的標(biāo)桿，同樣面對(duì)著現(xiàn)實(shí)生活、日常思維的無(wú)數(shù)固有框架、體系。

“假裝游戲”的方式在為我們帶來(lái)更多打破常規(guī)的思考和可能的同時(shí)，也以充滿趣味性的方式為公眾進(jìn)入藝術(shù)家的創(chuàng)作提供了一個(gè)不設(shè)防的大門：恰恰是這種“假裝游戲”的態(tài)度和立場(chǎng)中產(chǎn)生的作品，不知不覺(jué)間打破了觀者的既定思維模式，讓觀者跟隨藝術(shù)家的視角產(chǎn)生思考，并在與藝術(shù)家的創(chuàng)作思路交際的那一刻會(huì)心一笑或肅然深思。

本次展覽將展出至2019年5月19日。