About
-bio-
Yiyi is a digital artist whose research and creative practice center on glitch aesthetics, real-time audiovisual systems, and the critical misuse of game engines. His work investigates failure, error, and system deviation as generative conditions for new aesthetic languages. By deliberately disrupting collision simulations, virtual-camera pipelines, and symbolic architectures drawn from online culture, he develops a methodology that treats malfunction as an expressive, material process rather than a technical obstacle.
Yiyi’s work has been exhibited at Ars Electronica, The Wrong Biennale, Tank Shanghai, the UFO Terminal 加载计划, and the Nanhai Land Art Festival. He has performed in experimental and underground sound-media scenes including Elastic Arts, Nonation, DADS, and Tritriangle in Chicago, as well as GUM, Enlighting, and 244 Punk Group in Guangzhou. His moving-image projects have screened at the Gene Siskel Film Center in Chicago.
-Statement-
Over the past few years, I have become more interested in using glitch in a poetic way. I keep thinking about what happens when “perfection” becomes a cliché. Maybe glitch becomes interesting exactly because of this. I am also interested in how real-time audiovisual systems can use flexible mappings to make them more tolerant of errors, so the audience can still enjoy the work while I have the freedom to play with instability. I am trying to find a balance in this tension and struggle. In contemporary art practice, where should all these grown-up things be placed in the mind of a mischievous kid from southern China?
Visual overload and chaotic structures are still my usual methods and an important part of my visual language. I often wear an alien headpiece and improvise with game programs I wrote myself, while using a controller to cut and distort electronic sounds. For me, this has become a way to accept accidents and treat them as something valid, making them an important part of the performance.
个人简介
yiyi 是一位数字艺术家，声音艺术家，狂热的反技术游戏引擎用户。他收集数字实践中遇到的故障和错误，将其作为他视听表演的表达语汇。通过滥用物理模拟、虚拟相机和互联网符号，他找到了故障状态和怪诞之间的最佳平衡点，重构了数字艺术中的视觉美学表达。
Yiyi 的作品曾在林茨的 Ars Electronica、The Wrong Biennale、上海油罐艺术中心（Tank Shanghai）、UFO Terminal 加载计划、南海大地艺术节等展出。他也在实验与地下声音媒介场景中进行演出，包括芝加哥的 Elastic Arts、Notation、DADS、Tritriangle，以及广州的 GUM、光芒 Enlighting、244 Punk Group 等空间。他的影像作品亦曾在芝加哥的 Gene Siskel Film Center 放映。
创作陈述
过去几年里，我的创作逐渐转向一种更具诗意的故障表达。我关注的是：当“完美”的概念逐渐疲倦、失效时，它如何为故障美学让出空间；以及实时视听系统如何通过灵活的映射策略提升美学的“容错率”，在保证观众愉悦的同时，也让我得以在不稳定性中尽情游玩。我在拧巴与挣扎中探索一个平衡点,作为艺术工作的当代性,那些大人的东西应该被放在南方调皮小孩心中的哪里?
视觉过载与混乱结构仍然是我习以为常的方法和核心词汇。我经常利用画面卡顿、系统崩溃、暴露界面等方式制造冲击 。 这些瞬间既令我兴奋，也令观众不安。在现场表演中，我常常戴着外星人头套，即兴操演自己编写的游戏程序，并通过手柄切割与扭曲电子音色。对我来说，这成为拥抱并正当化“意外”的一种方式，使事故成为表演中不可或缺的组成部分。
