Wu Ziyang is a contemporary media artist whose work delves into the infrastructure of technology and its connections to the virtual world, as well as non-human life forms and the implications of technological advancement on our environment and society. Wu’s artistic journey began at the Rhode Island School of Design (RISD), where he initially studied painting. He reminisces about his time at RISD, expressing his deep passion for storytelling through his paintings: ’No matter how I draw, there’s always a story I want to tell.’ This obsession in storytelling eventually led him to the realm of game design. His most recent project Agartha includes a 15-minute animation, two conceptual genealogical digital paintings, and a puzzle video game. The game uses the classic ’Connecting the Dots’ mechanism, where players connect different objects with beams of light to construct to complete the tasks of each level. Agartha blends media archaeology, documentary materials, field investigations, and science fiction, problematising the patterns of connection between entities (including plants, animals, humans, and silicon-based organisms), indicating the diverse, accidental, variable, or erroneous links that shape the entire world, highlighting the potential material and spiritual dangers within today’s natural, political, and media ecosystems.

Wu is particularly interested in how technological advancements shape our interactions with both digital and physical environments. WiFi internet, as an omnipresent yet invisible infrastructure, plays a pivotal role in his work. Wu examines how this technology facilitates a seamless connection to the virtual world, enabling new forms of communication and interaction while also raising questions about surveillance, privacy, and digital dependency. For him, games represent a unique and powerful storytelling medium. Unlike traditional narratives, games offer interactive experiences that allow users to become active participants in the story. This participatory nature of gaming aligns with his artistic vision of engaging viewers in a more immersive and interactive way. Through gameplay, users can explore complex themes and narratives at their own pace, uncovering layers of meaning that might be missed in more passive forms of media. 

Regarding the broader arena of media art and contemporary art, Wu remarks on the resource-based differentiation between the two. Traditional contemporary art thrives in gallery settings where artworks can be sold and collected, providing a financial backbone for artists. On the other hand, media art, in the forms of installation, video art, and interactive work, tends to receive support from institutions like museums and government bodies, which is crucial as media art lacks the commercial appeal of traditional artworks. However, the medium’s instability and evolving nature are particularly evident in the context of game art. In a museum setup, games may not engage audiences effectively. This leads to the broader issue of how media art is presented and consumed. 

Despite these challenges, Wu remains optimistic about the future of media art. He acknowledges that as technology continues to advance, the ways in which we create and consume art will also evolve. The key, he believes, lies in the continued experimentation and pushing of boundaries within the medium. By embracing its instability and potential, artists can explore new forms of expression and storytelling that resonate with contemporary audiences. While media art may still be an evolving medium, its potential for growth and innovation is vast, offering exciting possibilities for the future of artistic expression. 

Pigeon Legend – Stories 100 Years After Agartha

(2024)

AI-generated color digital video with sound

05:19

Agartha

(2024)

Color digital video with sound (15:13), video game, genealogical paintings

Ziyang Wu is an artist and curator based in New York and Hangzhou. His video, AR, AI simulation and interactive video installation have exhibited internationally, including ICA Philadelphia, Rhizome at the New Museum, Walker Art Center, PinchukArtCentre, Hek Basel, SIGGRAPH Asia, SXSW, Civa Festival, ifa Berlin, Medici Palace, Art Dubai, M+ Museum, K11, UCCA, Long March Space, Today Art Museum, By Art Matters Museum, Song Art Museum, Inside-Out Art Museum, How Art Museum and Times Art Museum. His recent fellowships and residencies include the shortlist of “Future Generation Art Prize”; “The Randall Chair” award at Alfred University; “Kai Wu” residency at Media Art Lab, Times Museum; Residency Unlimited; MacDowell Fellowship and Institute for Electronic Arts (IEA). He is the vice department head of Open Media Department at School of Intermedia Art at China Academy of Art, and is a former member of NEW INC at the New Museum.