寻找冯梦波 In Search of Feng Mengbo

[加载需要些许时间，欢迎先阅读观战须知]

观展须知 

 1. 游戏目标是“寻找冯梦波”，具体需要找到填字游戏的答案并且进行正确输入。  

- 输入后按Tab键或者Enter，善用Tab键可以提升输入效率。

- 颜色会反映这个字是否正确，如正确则不能再进行编辑修改。 

- 点击谜题的空白在下方字幕上会显示谜面（重要） 

- 谜题遵循填字游戏基本规则。 

2. 请随意（实则也是必须）使用各种互联网产品与工具，例如手机，算法识曲功能，公众号，搜索引擎等等，整个中国互联网世界是游戏内容的一部分  

3. 本游戏内提供的绝大部分文字信息或者内容都是与谜题的答案所相关的，请不要忽略，注意观察与尝试 

 4. 如果当不能过关，又不愿意放弃的话请可以打开下方链接获取答案 

 - 线索提示与答案 https://xpaidia.com/game/fengmengboo/hint.html 

 - 点开链接或者扫码

背景为 冯梦波《童年》 Demo Credits

叶梓涛 ：游戏设计，美术，脚本，原型制作 

肖一驰 ：程序设计

杨静：游戏设计，脚本 

Ye Zitao  - Game Design / Scripts / Prototyping / Visual  

Yichi Xiao - Programmer

Yang Jing - Game Design / Scripts

概念

寻找冯梦波 

策展⼈：杨静，叶梓涛 

艺术家：冯梦波 

本世纪初，艺术史学家 Boris Groys 就提出艺术产业存在生产过剩、消费不足的问题。2020 年，这个问题更加明显，不仅生产视听作品的艺术家和非艺术家个体数量量几何级增长，以往能够让艺术作品通过仪式化展览和体验的机构——即美术馆、艺博会、画廊，本⾝也因疫情挑战，将工作调整到线上进行。这意味着艺术展览从内容到形式都要在多种⾏动者网络内和其他形式的⽂化娱乐产品竞争。 

筛选、重组、系统化呈现艺术作品和艺术家是当代艺术策展人和美术馆的工作要点，其中 ⼀个⽬的，是重新构建以为时空原因被去场景化的艺术作品的时空背景，即在美术馆的有限空间内以作品／艺术家为线索，搭建替代性的历史场景，既完成艺术史学领域的谱系梳理，也帮助参观者理解艺术作品。 

《寻找冯梦波》的展览构思正是基建于以上两点考量，在2020年年这个系统重新洗牌的历史节点，探索策展工作的可能。将艺术家本人作为具体的历史个体作为展览的客体，引入游戏设计的方法，设置信息发掘规则，将参观者从“观众”转变为“玩家”，打破只停留在景观的表象形、无行动性的观看，将再现转变为在场。如此使得将观众变得主动，在无限的网络信息中寻找冯梦波的痕迹，最终找到信息背后的作品，以及作品背后晶体结构折射出的复杂艺术家。 

整个展览以⽹页游戏为形式，策展⼈搜集、整理冯梦波的艺术创作和⽣活轨迹，以填字游戏的方式呈现在网页界面，⽤超链接提供解谜思路，引起玩家好奇心。展览的游戏性全然依托于「规则」本身，解谜需要的材料（冯梦波的作品）完全分布于互联⽹网这个无限数据库。展览本身提供在无限均等的互联⽹信息中漫游的多向动线，艺术家及其作品的信息其实早已存在于网上，等待被个体发掘。

参观者需要使⽤用各⾃熟悉的搜索引擎、社交网络解答谜题与发掘信息，「组装」他／她的冯梦波。展览试图构建信息本⾝身生存泯灭的土壤环 境（被演算法操控的互联网⽤用户端），也创造对这种寻常路径的挑战（需要参观者引入个体智能寻找可能路径），我们还希望尝试让当下未免过于内卷的艺术信息进入更加混杂的艺术外网络。 

选择冯梦波有多重原因：冯梦波是中国最早并持续和数字语言、尤其是游戏语言发生关系 的艺术家，持续有作品问世，足迹可寻。他的跨界合作也将⾃己置⾝身于音乐、游戏、直播、 VR等和当代艺术不完全重合的场域，提供更多非艺术的线索。冯梦波对于当下策展的方式 有自己的观察和意见，也会为我们的⼯作带来挑战与帮助。

In Search of Feng Mengbo

Curators: Yang Jing, Ye Zitao 

Artist: Feng Mengbo

At the beginning of this century, art historian Boris Groys argued that the art industry suffers from overproduction and underconsumption. In 2020 the problem becomes even more evident, not only with the exponential growth in the number of individual artists and non-artists producing audiovisual works, but also with the institutions that used to enable artworks to be exhibited and experienced ritualistically, i.e., art museums, art fairs, and galleries, which themselves have redirected their work online due to covid-19. This means that art exhibitions, from content to form, have to compete with other forms of cultural and entertainment offerings within multiple actor networks (ANT).

Selecting, reorganizing, and systematically presenting artworks and artists are key points in the work of contemporary art curators and galleries, one of the aims of which is to reconstruct the temporal and spatial contexts of artworks that have been de-contextualised from their temporal and spatial locations. This means museums need to construct alternative historical scenarios with works/artists as clues within the limited space of the gallery, both to complete the genealogical inventory in the field of art history and to help visitors understand the artwork exhibited.

The conceptualisation of the exhibition "In Search of Feng Mengbo" is based on these two considerations, exploring the curatorial possibilities at this historical point in 2020 when the system of art is reshuffled. We frame Feng Mengbo, the artist himself as a specific historical individual, and utilise ludological methodology to design game rules for information discovery. Therefor we transform visitors from "spectators" to "players", breaking away from the superficial and inactive role of an outsider. We aim to transform representation of art into co-presence of artaudience. In this way, the audience becomes active, searching for Feng Mengbo's traces in the infinite information on the Internet, and finding the works behind the information and the complex artist reflected in the crystal structure behind his works.

The exhibition is in the form of a web game, in which the curators collects and organises Feng Mengbo's artistic creations and life trajectory, and then present them on the web interface in the form of a crossword puzzle,. We use hyperlinks to provide solutions and arouse players' curiosity. The gameplay of the exhibition is entirely based on the "rules" themselves, and the materials required for solving the riddles (Feng Mengbo's works) are completely located in an infinite database on the Internet. The exhibition itself provides a multi-directional traffic flow in the infinite data on the Internet, where information about the artist and his works already exists, waiting to be discovered by individuals. The visitor needs to use his/her own familiar search engine and social network to solve puzzles and discover information, "assembling" his/her Feng Mengbo. The exhibition attempts to build the environment in which information itself lives (the algorithmically that manipulate individual Internet user), but also to create a challenge to the usual path by motivating visitors to bring in their own intelligence to form possible paths, as well as an attempt to bring the current art information, which often circles inside art system, into the more hybrid extranet.

We invited the artist Feng Mengbo for multiple reasons: Feng is one of China's earliest artists who worked with digital language, especially the language of video games, and he continues to produce works that can be traced easily on the Internet. His cross-over collaborations also place him in fields that do not entirely overlap with contemporary art, such as music, games, live streaming, VR, etc., providing more non-art clues for the visitors to solve the puzzel. Feng also has his own observations and critics on the current curatorial approach, which will also help us in our work.