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Transcendent hybridities: Lu Yang's interrogation of gender, technology, and "Chineseness" in contemporary
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Transcendent Hybridities: Lu Yang's Interrogation of Gender, Technology, and "Chineseness" in
Contemporary Art
By
Haiyang (Kevy) Yang
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN UNIVERSITY OF
SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements of the Degree
MASTER OF ARTS
(CURATORIAL PRACTICES AND THE PUBLIC SPHERE)
DECEMBER 2023
Copyright 2023 Haiyang (Kevy) Yang
ii
To my mother, 王庆 (Qing Wang), my father, 杨中国 (Zhongguo, Yang), and
my friends Nathaniel Biltz, Katelyn Ohashi, Monique Billings, Peng
Peng (Christine) Lee, Michon Sanders, Vrinda Aggarwal, Jiayi Hu, Qijun
Liu, Jiayun Chen, I couldn't have done this without you. Thank you for
being there along the way.
iii
ACKNOWLEDGEMENTS
Words alone cannot capture my immense appreciation for the incredible mentors and
friends who have shaped my journey. At the risk of inadequacy, I offer these acknowledgments.
First and foremost, I owe an enormous debt of gratitude to Dr. Jenny Lin, the Director of
the M.A. Curatorial Practices and the Public Sphere program. Your unwavering belief in my
potential has been my North Star. More than an academic mentor, you've been a wellspring of
kindness, constantly pushing me toward new heights while grounding me in the reality of human
decency. Thank you for having faith in me as a person. Thank you for not abandoning me when
the walls come tumbling down. Your support has been a vital part of my journey and the reason I
am able to complete my degree.
Meiling Cheng, Professor of Dramatic Arts in Theatre Critical Studies at the USC School
of Dramatic Arts, is equally deserving of thanks. Despite being on sabbatical, you generously
gave your time and wisdom. Our enriching conversations introduced me to a plethora of
contemporary Chinese artists and added critical dimensions to my research. You've been nothing
short of a beacon, guiding me through the intricacies of academia and the complexities of life
itself.
A heartfelt thank-you also goes to Jennifer West, the Director of the MFA ART program
at Roski. Your insights into Lu Yang's evolving career have been invaluable. Our in-depth
conversations were more than just informative; they became foundational elements of this thesis.
To each of you, please know that your impact extends beyond the academic sphere. You've each
played a monumental role in shaping this thesis and the person I have become during this
academic journey. Your kindness, wisdom, and mentorship will forever remain a part of me.
iv
TABLE OF CONTENTS
DEDICATION ............................................................................................................................... ii
ACKNOWLEDGEMENTS .......................................................................................................... iii
LIST OF FIGURES ...................................................................................................................... v
ABSTRACT ................................................................................................................................. vi
INTRODUCTION ......................................................................................................................... 4
CHAPTER ONE: POSTHUMANISM AND LU YANG’S TRANSGRESSIVE
CHARACTERS ........................................................................................................................... 7
CHAPTER TWO: THE SOCIAL ENGAGEMENT OF LU YANG’S
ART ............................................................................................................................................. 15
CHAPTER THREE: INTERDISCIPLINARY
FRAMEWORKS ......................................................................................................................... 20
CONCLUSION: LU YANG’S COSMOPUBLIC ART WORLDS ........................................... 30
BIBLIOGRAPHY ....................................................................................................................... 33
v
LIST OF FIGURES
FIGURE 1: Pure Land .................................................................................................................. 8
FIGURE 2: DOKU Asura ............................................................................................................ 12
FIGURE 3: Electromagnetic Brainology ..................................................................................... 18
FIGURE 4: Power of Will ............................................................................................................ 19
FIGURE 5: Delusional Mandala.................................................................................................. 4
FIGURE 6: Uterus Man................................................................................................................ 7
vi
ABSTRACT
This thesis examines the work of Lu Yang, a trailblazing Chinese contemporary artist who offers
a refreshing take on the idea of "Chineseness." This manuscript highlights their innovative use of
digital mediums, blending traditional Chinese artistic motifs and narratives with influences from
global cultures.
Lu Yang's works employ video installations and virtual reality as tools to explore topics
of identity, spirituality, and technology. These mediums allow them to present a nuanced
narrative that offers a queering of "Chineseness" in the modern world. Their usage of video game
aesthetics and their preference for interactive platforms place Chinese art within a broader, more
inclusive global context that is less nostalgic and more tech-savvy, breaking down cultural
barriers and redefining how Chinese art and identity are perceived and experienced in today's
age.
Furthermore, this thesis also breaks down how Lu Yang's fondness for specific mediums
underscores the dynamic and fluid nature of cultural heritage in the realm of digital art. We will
delve into the broader role of Lu Yang's oeuvre in discussions regarding posthumanism-- how
the artist's creations add to the ongoing dialogue about the human experience in the post-internet
period.
1
Introduction: Defining “Chineseness” in the Context of Lu Yang’s Art
The term "Chineseness" in art has long been a subject of intricate debate, encapsulating
elements that range from cultural heritage to aesthetic values, artistic forms, and philosophical
ideologies. In traditional Chinese art, the notion was less ambiguous and often linked with
Confucian ideals of order, harmony, and social responsibility. These were further supplemented
by Taoist and Buddhist philosophies. Artists like Zhang Daqian and Qi Baishi exemplified this
form of "Chineseness" through their ink illustrations representing nature, people, and philosophy.
As noted by Jane Chin Davidson, globalization and the marketization of Chinese art have
significantly disrupted these traditional definitions, giving rise to a new, hybrid cultural
aesthetic1
.
The sociopolitical and technological upheavals of the 20th and 21st centuries have further
stretched this traditional notion. Modern artists must navigate an increasingly intricate landscape
of global influences and technological advancements. In his work, The Art of Art History,
Donald Preziosi postulates that art is not a secular, isolated construct but a deeply embedded
cultural and social phenomenon that is always in flux2. Preziosi's analysis allows us to
understand the interconnectivity of artistic practices across cultures, emphasizing that art is an
ongoing negotiation between local traditions and global dialogues. His notion of the “fauxsecular” illustrates that art carries traces of spiritual, ethical, and cultural investments even in its
modern or “secular” forms.
One artist who exemplifies the complexities of navigating this global landscape is Lu
Yang, whose work forms an intersection of neuroscience, technology, and Buddhist philosophy.
Ashley Lee Wong's scholarship highlights how Lu Yang engages in a "multi-layering of
1 Davidson, “Staging art and Chineseness,” 11.
2 Preziosi, “The Art of Art History,” 7
2
temporalities," breaking down the boundaries between modern and traditional, scientific and
spiritual, material and virtual realms3.
Lu Yang's creative defiance extends to the mediums she employs, including video
installations, virtual reality, live performances, and online spaces. This expansion of medium
aligns with Iain Robertson's observation that the "content and form of contemporary art in China
are inseparable from the global aesthetic"4
. Through her transdisciplinary approach, Lu Yang
introduces themes like neuroscience, human psychology, and spiritual reincarnation into the
Chinese art discourse, integrating them with pop-cultural elements from video games and music.
This nuanced blending calls to mind Hong Wu's assertion that contemporary Chinese artists are
reconfiguring their art forms by merging them with Western and other traditions, thus creating a
fresh narrative of what constitutes "Chineseness" in art5.
Given these various layers of influence and medium, it becomes increasingly evident that
static definitions traditionally characterized as "Chineseness" are inadequate for capturing its
modern intricacies. The multilayered themes, diverse influences, and hybrid mediums in
contemporary art from China warrant a nuanced and multidimensional approach to
understanding "Chineseness." Hence, this thesis will examine this complex interplay between
traditional and contemporary articulations of "Chineseness," with a primary focus on the work of
Lu Yang as a representative case study.
While the transformative art of Lu Yang and her contemporaries offer an exciting foray
into the diversification and modernization of Chinese art, it is crucial to examine the critiques
3 Wong, “Cyclic Existence, Iteration, and Digital Transcendence,” 14
4 Robertson, “Global Aesthetic,” 45
5 Wu, “Zhongguo Xiandai Yishu”
3
and limitations surrounding such artistic endeavors. One primary critique questions how these
modern art forms reflect or dilute the inherent cultural elements of "Chineseness."
There is a perception that by integrating various global influences and technological
mediums, artists like Lu Yang risk diluting the specific cultural identifiers that make their art
uniquely Chinese. However, this perspective, although echoed with good intentions, is actually
limiting. As Taipei curator Amy Cheng notes in her roundtable talk with Jeph Lo, the
aforementioned viewpoint comes from a restrictive view of cultural identity framed within
geopolitical borders, which does not consider the multiplicity of identities within a globalized
world.6
Moreover, there exists the phenomenon of othering regarding contemporary Chinese
artworks when they are framed in a wholly Western context. Chinese artists' creations are
marginalized as the emphasis is placed only on the exotic or mystical elements of the pieces
rather than their artistic or technological merits. This compartmentalization takes away from the
complexity and nuance of contemporary Chinese artworks and bottles the notion of
"Chineseness" into a monolithic construct that serves the purpose of cultural voyeurism rather
than fostering genuine understanding or dialogue when the landscape's reality is much more
complex. Professor Jenny Lin breaks it down the best in her book, Above sea: Contemporary art,
urban culture, and the fashioning of global Shanghai. She describes the transnational spirit of the
Chinese contemporary art scene as a mutated mixture of the "conflicts rooted in vying early
twen-tieth-cen-tury notions of foreign-influenced modernity versus anti-colonialist nationalism
and social anxieties associated with the city's repressed Maoist past and consumerist present." 7
6 Amy Cheng and Jeph Lo, “Curatorial Roundtable with Amy Cheng and Jeph Lo,” YouTube, Nov 15, 2022,
educational video, 0:05 to 52:30, youtube.com/watch?v=Ffp7d4r5bK4&t=129s
7 Lin, “Above sea: Contemporary art, urban culture, and the fashioning of global Shanghai,” 32
4
On the other hand, scholar Ashley Lee Wong takes a more interdisciplinary approach
when discussing the subject matter of Lu Yang's work. Wong does not just acknowledge the
diversity of mediums Lu Yang uses but goes further to appreciate the intellectual depth and
conceptual complexity of her works. Wong positions Lu Yang’s work as a precedent for how
"Chineseness" can be critiqued in contemporary art: not as a static definition but as an evolving
concept incorporating elements from different fields and cultural influences8.
Another limitation in the discourse on "Chineseness" in contemporary art is the scarcity
of scholarly research that adequately explores the complexity and layered nature of cultural
identity as expressed through the works of artists like Lu Yang. The existing literature often
concentrates on specific art forms, traditional or digital, and seldom bridges the gap between
these worlds, creating a dichotomy where there is a continuum. To establish a discourse capable
of navigating this complexity, we must engage with the works of other contemporary Chinese
and Chinese diasporic artists who also utilize new media in their artistic expressions.
For instance, the work of Cao Fei reflects on the impact of rapid technological and urban
growth on Chinese society and cultural identity. Her RMB City project is an art installation
within the virtual platform Second Life that operates on multiple levels to bridge the global with
the Chinese. This virtual metropolis, which existed from 2009 to 2011, was not just a static
artwork but a living, breathing online environment that was open to visitors from around the
world. It featured iconic Chinese architecture, like the CCTV Headquarters and the Bird's Nest
Stadium, juxtaposed with fantastical elements like floating pandas and dragons, thereby
integrating globally recognizable symbols of China's modernity with elements of traditional
Chinese culture and mythology.
8 Wong, “Cyclic Existence, Iteration, and Digital Transcendence: Lu Yang's Live Motion Capture Performances”
5
The narrative of RMB City unfolds through the interaction of its global visitors within this
Chinese-themed space. Participants, through their avatars, could explore, inhabit, and modify the
city, engaging in activities from flying to attending virtual art exhibitions. This experience
mirrored the rapid urbanization and cultural transformations occurring in actual Chinese cities,
where historical narratives intermingle with the pressures of modernization and Western
influence.
Cao Fei herself assumed the role of the city's mayor. She navigated the administration of
this digital space as a performative act that paralleled the governance challenges of contemporary
Chinese urban centers. RMB City thus became a space where digital culture and Chinese society
intersected. It provided a microcosmic view of China's place in the global order, where ancient
history and rapid technological advancement coexist in a complex, sometimes contradictory
manner. The narrative was created not only by the artist but also by the collective experiences
and interactions of an international community within this digital realm, reflecting how Chinese
identity in the modern world is both a local and a global construct.
In a similar vein, the artist WangShui's practice is vividly showcased in their film
installation, From Its Mouth Came a River of High-End Residential Appliances. Here, they
investigate the architectural phenomenon of "dragon gates" in Hong Kong, which are large holes
in high-rise buildings that allow dragons to pass from the mountains to the water— a traditional
concept applied in a hyper-modern context. The film, through its journey between these urban
gaps, probes the mutability of identity, both human and architectural, and the non-binary
existence of spaces. By highlighting such hybridity within an urban Chinese landscape,
WangShui's work urges viewers to consider a version of "Chineseness" that is as fluid and
malleable as the identity of the dragons it contemplates.
6
In conclusion, the intricate tapestry of Lu Yang's artistry, characterized by a confluence
of cultural motifs and technological mediums, finds a parallel in the interdisciplinary works of
those contemporaries mentioned above. These artists all underscore the multifaceted nature of
"Chineseness" in the digital age. This new generation, through their distinctive dialogues with
technology and identity, redefines the parameters of cultural expression and engages with the
complexities of contemporary existence. As this thesis unfolds, the conversation will delve
deeper into how Lu Yang's oeuvre contributes to and expands upon the evolving narrative of
"Chineseness" within the global tapestry of contemporary art, mirroring the groundbreaking
contributions of artists like Cheang. Together, their works stand as pivotal points of reference in
the ongoing discourse on cultural identity, intersectionality, and the indelible impact of
technology on the human experience.
7
Chapter One: Posthumanism and Lu Yang’s Transgressive Characters
Scholars like Rosi Braidotti and Donna Haraway have paved the way for interpreting art
through posthumanist theories. These theories subvert anthropocentric paradigms, advocating
instead for a multi-species perspective that emphasizes the interconnectedness of humans, nonhumans, and technology9. This viewpoint is not merely theoretical but practically applicable
when confronting the art of Lu Yang, where the boundaries between these entities become
increasingly porous.
While posthumanism has been increasingly acknowledged in Western art, its intersection
with Chinese contemporary art remains a developing field of study. Lu Yang's work serves as a
compelling case study in this context, deftly weaving posthumanist themes with elements deeply
rooted in Chinese culture, such as Buddhist and Daoist symbolism. Her art calls for a thorough
analysis from a posthumanist lens and poses questions on how posthumanism might be reframed
within a distinctly Chinese cultural milieu.
This thesis aims to fill scholarly gaps by evaluating the work of Lu Yang, an overlooked
artist, in the context of posthumanist theory. It seeks to challenge the Eurocentric assumptions
often underpinning posthumanist discourse by incorporating diverse cultural frameworks,
particularly those arising from non-Western contexts. Lu Yang's body of work, which juxtaposes
traditional Chinese iconography with futuristic elements, presents a critical opportunity to
broaden the scope of posthumanist studies. In parallel, the work of Japanese artist Mariko Mori
provides a poignant case study for this expansion. Her photograph work set within glass, Pure
Land, is a testament to the synthesis of ancient spirituality and contemporary technology,
reflecting a nuanced comprehension of the posthuman condition that transcends singular cultural
9 Braidotti, “The Posthuman”
8
narratives. As figure 1 shows, Mori employs advanced CGI in this seminal work to create an
ethereal landscape that echoes the Buddhist concept of the Western Paradise or Pure Land, where
souls are believed to attain enlightenment. The piece is dominated by a radiant figure,
reminiscent of a Bodhisattva, which is depicted in a state of serene grace amidst a cosmic
backdrop, suggesting the transcendence of physical form and the possibility of spiritual rebirth in
the digital age. The visual language of the artwork intertwines Mori's futuristic vision with
traditional Buddhist iconography; the figure is adorned with cyborg-like elements, yet it radiates
an aura of timeless divinity, symbolizing the intersection of the human with the divine and the
technological.
Figure 1. Mariko Mori’s artwork, Pure Land, 1996–98, glass with photo interlayer (Photo
courtesy of Los Angeles County Museum of Art, https://smarthistory.org/mariko-mori-pureland/).
This intersection is further highlighted by the fact that the photograph is part of a larger
installation Mori produced, titled Nirvana. Nirvana animates the imagery we see in Pure Land.
The experience takes place within a darkened room using three-dimensional glasses. Nirvana's
audience was limited to 20 people at a time. “During the seven-minute video, the central female
9
figure would hum and whisper echoed rhythms as if meditating while the little musician figures
floated around her. At the conclusion, a fan came on and blew cool, scented air into the
audience's faces. Through the integration of sensory elements such as three-dimensional
imagery, sound, scent, and the gentle touch of a breeze, combined with the limited viewing
audience, Nirvana created an immersive, intimate experience.”10 These augmented reality
elements enable the viewer to interact with the piece in a multidimensional space, merging the
viewer's presence with the virtual landscape. The convergence of the viewer's reality with the
virtual realm is a direct engagement with posthumanist discourse, as it challenges the boundaries
between the self and the other, the organic and the inorganic, the historical and the futuristic.
Through Pure Land, Mori complicates the often Western-centric focus of posthumanism
by introducing elements of Eastern spiritual traditions, which have long grappled with notions of
transcendence and the dissolution of the self, concepts that resonate with posthumanist thought.
Her work underscores that the posthuman experience is not a new paradigm but one that can be
enriched and deepened by the philosophical insights of non-Western traditions, particularly when
these insights are reimagined within contemporary digital art. By weaving together these threads,
Mori's work serves as a bridge between Lu Yang's artistic explorations and the broader discourse
on posthumanism, highlighting how the interplay of cultural heritage and technological
innovation can yield profound insights into the nature of existence in the digital era.
Lu Yang's artistic language similarly navigates between the sacred and the profane, the
ancient and the digital, forming a complex commentary on human existence. Through this lens,
the thesis scrutinizes how Lu Yang's art, much like Mori's, destabilizes the preconceived
boundaries of posthumanist theory. In alignment with Marshall McLuhan's tenet that "the
10 Klaasmeyer, "Mariko Mori, Pure Land"
10
medium is the message," and furthered by scholars such as Christiane Paul, this exploration
recognizes that in the realm of digital art, technology transcends its role as an instrument to
become the very fabric of creation—thereby reshaping the message itself (McLuhan, 1964; Paul,
2003). The amalgamation of diverse cultural elements within Lu Yang's work suggests a
multiplicity of narratives that invites posthumanist scholarship to adopt a more holistic, globally
informed perspective.
Furthermore, Ashley Lee Wong's pivotal article Cyclic Existence, Iteration, and Digital
Transcendence: Lu Yang's Live Motion Capture Performances (2019) serves as another example
in elucidating the intricate relationship between technology and contemporary Chinese art,
specifically through the lens of Lu Yang's oeuvre. Wong meticulously argues that Lu Yang's art
is not merely augmented by technology but is, in fact, a dialogue between the artist and the
technological mediums she employs11.
Wong's contribution extends beyond merely cataloging Lu Yang's use of technology. In
her critical analysis of Lu Yang's art, Ashley Lee Wong elucidates the role of technology as an
intrinsic narrative device within the artist's work. Wong posits, "Technology, in Lu Yang’s
practice, is not merely a tool but a language in itself—one that she speaks with fluency and
inventiveness"12. This perspective is exemplified in Lu Yang's adept use of live motion capture
and virtual reality, wherein these modalities do more than showcase artistic innovation; they
embody the thematic currents and philosophical inquiries of the works. Wong asserts, "The
11 Wong, “Cyclic Existence, Iteration, and Digital Transcendence: Lu Yang's Live Motion Capture Performances,”
91
12 Wong, “Cyclic Existence, Iteration, and Digital Transcendence: Lu Yang's Live Motion Capture Performances,”
112
11
technological tapestry of Lu Yang's artistry does more than dazzle; it dissects and dialogues with
the cultural psyche of modern China."13
Furthermore, another point Wong highlights concerning Lu Yang's art is the symbiotic
relationship between the medium and the message in Lu Yang's multimedia installations. "Lu
Yang's installations are not just exhibitions of digital prowess; they are incarnations of her
critique, her celebration, and her vision of a society in flux,"14 states Wong. Her article provides
the groundwork for a scholarly conversation that has yet to be fully realized—how digital
technology in Lu Yang's art critiques and reflects broader societal and cultural narratives in
contemporary China.
Wong's analysis, however, leaves unexplored territories, notably the interaction between
technology and notions of "Chineseness" in Lu Yang's works. The role of technology as a
cultural artifact and its implications on the interpretation of "Chineseness" remain less
scrutinized. In this scholarly gap, this thesis aims to offer a nuanced examination of how
technology in Lu Yang's art serves not just as a medium but as an active participant in redefining
Chinese cultural identity.
Lu Yang's works often feature characters that are neither wholly male nor female, human
nor machine, disrupting the dichotomy traditionally employed to understand these entities.
Notable among these characters are Uterus Man and Doku, each of which serves as a
metaphorical lens through which to scrutinize societal notions of gender and identity.
13 Wong, “Cyclic Existence, Iteration, and Digital Transcendence: Lu Yang's Live Motion Capture Performances,”
117
14 Wong, “Cyclic Existence, Iteration, and Digital Transcendence: Lu Yang's Live Motion Capture Performances,”
121
12
Figure 2. A digital illustration of Lu Yang’s DOKU Asura character, (Photo courtesy of Lu
Yang, https://palaispopulaire.db.com/news/detail/20220904-doku-asura).
Judith Butler's theory of gender performativity provides insight in examining these
characters. In her seminal text "Gender Trouble," Butler argues that gender is not inherent but
13
constructed through repeated performative acts15. The characters in Lu Yang's works embody
this theory by existing in a state of constant transformation, challenging our traditional
understanding of what constitutes “male” and “female.” For example, Uterus Man appears
neither strictly male nor strictly female, but encapsulates anatomical and cultural symbols
associated with both genders. Similarly, Doku defies categorization, invoking visual and
thematic elements that blur the lines between human and machine.
Moreover, Doku's design incorporates the mechanical, cybernetic elements reminiscent
of Western sci-fi, a nod to the technologically driven future often portrayed in the genre, while
also drawing upon the visual language of Eastern mythological creatures, blending dragon-like
scales and robotic limbs. This fusion is further accentuated by the juxtaposition of Buddhist
mandalas and cybernetic interfaces in the character's backdrop, pointing to a convergence of
Eastern spiritual motifs and Western digital culture. Through Doku, Lu Yang constructs a
narrative space where East meets West not as binary opposites but as complementary forces,
mirroring Butler's deconstruction of gender into performative acts rather than inherent truths.
This notion is critical because it offers a transformative lens to interrogate societal norms.
It allows us to question how gender is constructed and opens up space for more complex, fluid
understandings of identity. The characters Uterus Man and Doku are artistic interventions that
destabilize established notions of gender, rendering the traditional categories insufficient for
capturing the diversity and fluidity of human experience. In doing so, they reflect and critique
societal norms, offering new avenues for understanding identity in the contemporary world.
Lu Yang's work explores the fluidity of identity in the digital age, challenging notions of
binary that include the dichotomies of male and female, the opposing philosophies of East and
15 Butler, “Gender Trouble: Feminism and the Subversion of Identity,” 7
14
West, and the nature and properties of human and machine. Within the context of gender and
identity, they have notably chosen to employ gender-neutral pronouns. In a recent interview, Lu
Yang explains this choice: "The issue of gender has always been complicated, and assigning a
specific gender can be limiting. I prefer to explore the multiplicities of identity without being
confined to a single category." Their position resonates with Judith Butler's concept of gender
performativity, which asserts that gender identity is not fixed but constituted through repeated
performances16. This perspective aligns with Lu Yang's approach, which critiques not only
gender norms but also broader societal and cultural constructions.
16 Butler, “Gender Trouble: Feminism and the Subversion of Identity,” 28
15
Chapter Two: The Social Engagement of Lu Yang’s Art
In her groundbreaking book, Artificial Hells: Participatory Art and the Politics of
Spectatorship, Claire Bishop explores the landscape of socially engaged art, providing a
comprehensive theoretical framework for understanding how art intersects with society. Bishop
delineates a theoretical architecture that explicates how art not only mirrors society but also
actively engages with its fabric. She is particularly attentive to the ethical ramifications of
participatory art, probing the extent to which it provokes public discourse, catalyzes community
involvement, and either upholds or disrupts prevailing social orders. To encapsulate the critical
essence of Bishop's argument, consider her assertion: "The artist is now no longer the producer
of an object or even a performance, but a producer of situations; the artwork has no autonomous
life of its own, but exists only in the realm of the social"17. This perspective is crucial in
contextualizing the interactive elements present in Lu Yang's work, which challenge viewers to
become co-creators within the artistic experience, thereby reshaping their sociocultural
engagements and perceptions.
The relevance of Bishop's analysis for studying Lu Yang's body of work lies in its focus
on the performative and interactive aspects of art. Unlike traditional art, which often creates a
one-way discourse between the artwork and the viewer, Lu Yang's installations invite
participation, thereby blurring the lines between art, audience, and the spaces in which they
cohabit. By doing so, their work taps into a lineage of socially engaged art that Bishop
delineates, extending its parameters into the realms of technology and virtual reality.
17 Bishop, “Artificial Hells: Participatory Art and the Politics of Spectatorship,” 2
16
However, the question that remains unanswered in the existing literature is how Lu
Yang's socially engaged art uniquely contributes to or challenges the evolving notions of
"Chineseness" in the global art sphere.
In his article, "The Social Life of the Chinese Popular Print," cultural scholar Hai Ren
explores the relationship between art and public history in the Chinese context. He argues that
"art does not merely reflect but also constructs societal discourses, influencing public opinion
and historical memory”18. Applying Ren's framework to Lu Yang's art allows for a multifaceted
exploration of how their pieces operate within larger narratives that intersect with history, social
structures, and public spaces. For instance, Ren's observation that "public art serves as an
apparatus that engages with and often manipulates collective memory and social history"19 can
be crucial for interpreting Lu Yang's frequent allusions to historical Chinese and Buddhist
iconography.
In juxtaposition to Hai Ren's discussion on the societal impact and historical narratives in
Chinese popular prints, Lu Yang's digitally augmented art challenges Ren's frameworks. While
Ren concentrates on the ways socially engaged art can serve as a vehicle for collective memory,
Lu Yang's work questions the very fabric of this memory by incorporating disruptive digital
elements. This divergence does not just introduce a layer of complexity to Ren's theories; it
demands a re-evaluation of how socially engaged art interfaces with technology and public
history in the 21st century.
Antoinette Rouvroy's work on algorithmic governmentality contends that algorithms are
becoming increasingly significant in shaping human behavior, orchestrating a hidden governance
18 Ren, "The Social Life of the Chinese Popular Print," 72
19 Ren, "The Social Life of the Chinese Popular Print," 89
17
layer beneath the surface of our digital interactions20. While much of the discourse around
algorithmic governmentality has been directed at surveillance and data capitalism, its relevance
to art, and specifically to the art of Lu Yang, needs to be adequately explored.
In the context of Lu Yang's body of work, the theory of algorithmic governmentality
offers a lens to scrutinize how her art engages with or resists algorithmic forms of control and
normalization. For instance, their immersive installations and digital interfaces often incorporate
unconventional user experiences that thwart algorithmic predictions, thus creating spaces that
resist easy categorization or control. By doing so, they challenge the viewer to confront the
subtle ways their behavior might be governed by unseen algorithms, raising important questions
about agency, autonomy, and resistance in the digital age.
Lu Yang's art operates in dialogue with the theory of algorithmic governmentality,
creating a unique artistic lexicon that diverges from or subverts the algorithmic norms shaping
modern behavior. Their work can be seen as creative resistance against algorithmic forms of
control. Whereas Antoinette Rouvroy's work has pointed to the omnipresent influence of
algorithms in dictating social norms and behaviors, the scholar states that “our behaviours have
never been so processed – observed, recorded, classified, evaluated –, underpinned by codes of
intelligibility and criteria that are completely opaque to human understanding, as it is now on this
statistical basis.”21 Lu Yang uses her art to disrupt these norms, challenging the notion of
algorithmic governance and reminding us that if we stay passive, our reality will no longer be
within our control.
20 Rouvory, “Algorithmic governmentality and prospects of emancipation”
21 Rouvory, “Algorithmic governmentality and prospects of emancipation”
18
Figure 3. A screenshot of Lu Yang’s Electromagnetic Brainology, (Photo courtesy of Lu
Yang, https://luyang.asia/2018/02/19/electromagnetic-brainology/).
Specifically, her works such as Electromagnetic Brainology or Power of Will, as shown
in figure 3 and figure 4, integrate immersive experiences, interactive digital interfaces, and
unconventional narrative structures that defy the simplistic categorizations often used by
algorithms to understand human behavior. By creating these complex digital landscapes, she
actively engages with the viewer, compelling them to challenge their preconceptions and
potentially algorithmically conditioned behaviors.
19
Figure 4. A photo of Lu Yang’s Power of Will installation, (Photo courtesy of Lu Yang,
https://luyang.asia/2016/11/18/power-of-will-final-shooting/).
In this sense, Lu Yang's art is a potent critique of algorithmic governance. It acts as a
counter-narrative to the algorithmic systems that aim to normalize behaviors, offering an
alternative space where viewers can experience unpredictability and complexity, thereby
resisting algorithmic categorization.
20
Chapter Three: Interdisciplinary Frameworks:
Theorizing Lu Yang in the Context of “Chineseness”
Hong Wu, a prominent scholar in Chinese art history and criticism, has been instrumental
in shedding light on the modern art scene in China. His work critically examines the relationship
between traditional Chinese art forms and contemporary art, often arguing for their complex
interactions. Hong Wu’s critique on the commodification of “Chineseness” is a starting point for
deconstructing the nuances of this term in the realm of contemporary Chinese art22. When
examined within this context, Lu Yang's body of work stands out as a critique of the
stereotypical categories often ascribed to Chinese art and artists. Their work traverses
disciplinary boundaries, defying easy classification. They infuse elements often identified as
“Chinese”— such as Taoist and Confucian philosophies—into a larger dialogic framework that
includes contemporary issues like posthumanism, technology, and gender theory23.
This interdisciplinary approach is not merely a stylistic choice but an ideological stance.
Judith Butler's notion of “performativity” resonates with Lu Yang’s art, where identity becomes
an amalgam of performed roles that question societal norms24. Through this performance, they
undermine fixed conceptions of what it means to be “Chinese,” modern, or even human, leading
us to question: to what extent is “Chineseeness” a performative construct?
Barbara Pollack’s work on the diverse expressions in contemporary Chinese art helps us
to place Lu Yang within a broader intellectual milieu25. Pollack asserts that artists like Lu Yang
necessitate an examination through a lens that is neither singularly Western nor Eastern but
intercultural. Pollack's assertion that a complex, intercultural lens is essential for understanding
22 Wu, “Making history,” 67
23 Wu, “Making history,” 74
24 Butler, “Gender Trouble: Feminism and the Subversion of Identity,” 33
25 Pollack, “The Wild, Wild East: An American Art Critic's Adventures in China”
21
artists like Lu Yang finds resonance in Stuart Hall's theory of “encoding and decoding”26, which
posits that a cultural text can be interpreted in multiple ways based on the reader's application of
diverse interpretive codes27.
Figure 4. A screenshot of Lu Yang’s video work, Delusional Crime and Punishment, (Photo
courtesy of Lu Yang, https://vimeo.com/188248880).
One of Lu Yang's works that exemplifies the aforementioned “encoding and decoding”
concept is Delusional Crime and Punishment (Figure 4). This piece weaves elements from
traditional Chinese culture, Western psychological theories, and Japanese anime tropes. Through
the work, Lu Yang engages with the Buddhist concept of “karma” and retribution but sets this
spiritual principle within the framework of a psychological thriller. This unique amalgamation of
themes offers a plethora of interpretive angles. A viewer acquainted primarily with Buddhist
philosophy might decode the piece as a contemporary reinterpretation of spiritual tenets.
26 Hall, “Culture, Media, Language: Working Papers in Cultural Studies”
27 Hall, “Culture, Media, Language: Working Papers in Cultural Studies”
22
Simultaneously, a viewer versed in psychological theories, particularly those of Freud and Jung,
might see it as an exploration of the human psyche, marked by archetypes and moral dilemmas.
What makes this work particularly resonant with Pollack's and Hall's theories is its
amenability to multiple interpretations created by the fusion of diverse cultural elements. The
anime aesthetic and psychological motifs might stand out to a Western audience, revealing the
work's intricate intertextuality with Western popular culture and psychoanalytic theory.
However, to a viewer well-versed in traditional Chinese spiritualism, the same piece may evoke
different interpretive responses, focusing on its spiritual elements that probe the complexities of
“Chineseness.”
Lu Yang's art, therefore, becomes a coded language, open to multiple decodings. This
multivalency is not only a stylistic but also an ideological attribute, allowing their work to be a
site of contestation between diverse cultural logics.
The application of Buddhist philosophies in Lu Yang’s work is not a cursory addition but
a critical aspect that enriches the thematic layers of their art. Drawing from Michel Foucault's
concept of “episteme,” which he refers to as the underlying conditions of knowledge and
intellectual frameworks that shape the collective understanding in a particular era, one could
argue that Lu Yang's incorporation of Buddhist principles marks an alternative episteme to
Western posthumanism28. David Loy’s work on Buddhism's unique approach to the
“deconstructed self" also finds resonance in Lu Yang’s art, where Buddhist philosophies are not
merely aesthetic but interrogate the notion of “self” in contemporary society29.
28 Foucault, “The Order of Things: An Archaeology of the Human Sciences"
29 Loy, “Lack and Transcendence: The Problem of Death and Life in Psychotherapy, Existentialism, and Buddhism”
23
Figure 5. A screenshot of Lu Yang’s video work, Delusional Mandala, (Photo courtesy of Lu
Yang, https://luyang.asia/2016/12/09/luyang-delusioanl-mandala/).
Loy's theories on the “deconstructed self” in Buddhism propose that the self is not a fixed
entity but a dynamic process that can be understood only within the broader contexts of
suffering, non-self, and interconnectedness. This theoretical perspective finds particular
resonance in Lu Yang's work, Delusional Mandala (Figure 5), where the artist engages deeply
with Buddhist philosophies as aesthetic embellishments and substantive interrogations of the
“self.” In Delusional Mandala, the artist employs 3D modeling to create an avatar that undergoes
24
various transformations, surgeries, and reincarnations. The avatar's journey challenges
conventional understandings of identity, suggesting that the “self” is mutable, malleable, and
ultimately impermanent—much like Loy's “deconstructed self.”30
Lu Yang further implicates this concept in the artwork by incorporating Buddhist
symbols like the mandala and the lotus, traditionally used to explore the nature of existence and
the cycle of birth and death. The mandala, often used in Buddhism as a tool for meditation and a
symbol for the universe, becomes a labyrinth of transformations for the avatar, making the
viewer question the stability and permanence of identity.
Moreover, repetitive chants and mantras in the audio component of Delusional Mandala
echo Buddhist practices aimed at understanding the self's ephemeral nature. The repetitive audio
heightens the experience of “no-self,” emphasizing that the individual is not an isolated entity
but part of an interconnected cosmic reality.
Thus, Lu Yang's art can be seen as a critical space where the Buddhist notion of the
“deconstructed self,” as theorized by David Loy, is vividly brought to life. It is a compelling
example of how contemporary artists are not merely drawing upon Buddhism for visual
inspiration but are deeply engaged in its philosophical complexities. The fusion creates an
interpretive space where “Chineseness” and posthumanism can be rethought through a uniquely
Eastern perspective.
30 Loy, “Lack and Transcendence: The Problem of Death and Life in Psychotherapy, Existentialism, and Buddhism”
25
Figure 6. A screenshot of Lu Yang’s video work, Uterus Man, (Photo courtesy of Lu Yang,
https://luyang.asia/2017/02/22/cool-hunting-lu-yangs-uterus-man/).
In José Esteban Muñoz's framework of “disidentification,” the art of Lu Yang serves as
an instrumental medium for the "queering" of “Chineseness”31. Through works like Uterus Man
(Figure 6), Lu Yang transcends traditional gender roles by introducing a superhero-like figure
that rides a “Pelvis Chariot” (a pelvic bone skateboard pulled by Sphinxes with female human
31 Muñoz, “Disidentifications: Queers of Color and the Performance of Politics”
26
faces) and utilizes weapons such as “Ovary Missiles,” explicitly centering the reproductive
system not usually associated with conventional heroic masculinity. By conflating themes
typically ascribed to different genders, Lu Yang creates a hybrid identity that subverts traditional
gender roles and norms. These choices made by the artists are an overt act of queering,
challenging not just general assumptions about gender but also specific cultural notions within
China, where traditional roles have been long established and are only now being publicly
scrutinized. This act of morphological manipulation subverts both gender and biological
determinism. In the case of the Uterus Man, the reproductive system becomes a site of power,
subverting its conventional symbolic association with vulnerability or femininity.
Moreover, the idea of a gender-fluid androgynous superhero challenges the fixed sexual
binary in China. Traditional Chinese culture has its roots in Confucian values, which have rigid
guidelines concerning gender roles and family structures. Uterus Man contests these guidelines
by presenting a radically different form of heroism and masculinity that does not align with
traditional Chinese virtues. The work pushes the audience to reconsider “Chineseness” as a
mutable and complex identity rather than a fixed set of traditions and norms.
Building upon this, Silvia Fok's book Life and Death: Art and the Body in Contemporary
China offers an academic foundation for interpreting the body as a locus for negotiating life,
death, and social norms. In her work, Fok discusses how artists utilize corporeal substances to
engage with themes of life and death in various art forms. She specifically focuses on how
Chinese artists, including Lu Yang, use the body as a conduit for broader social and cultural
concerns. This framework allows for a deeper understanding of how Lu Yang’s art becomes a
sociotechnical site that enables the challenging of gender norms, particularly within a distinctly
Chinese context.
27
Delusional Mandala grapples with identity in a Chinese context but does so through the
lens of Buddhism and technology. The visual language of Lu Yang's work borrows from
Buddhist motifs and cybernetic theory, thereby bringing distinctly Chinese frameworks into
conversations surrounding posthumanism and gender fluidity. More specifically, the avatar in
Delusional Mandala undergoes procedures resembling facial recognition and biometric
scanning, which are prominent in China's rapidly expanding surveillance state. Such references
bring to light issues of body autonomy and the control of individual identity within contemporary
China, where spirituality has slowly lost its footing, given that the government rejects
idiosyncrasy in favor of homogeneity, as it is easier to control.
Furthermore, Lu Yang's works not only disrupt normative gender roles but also localize
these disruptions culturally. For instance, the term “Mandala” in Delusional Mandala refers to a
spiritual and ritual symbol in Hinduism and Buddhism, significant aspects of the Chinese
spiritual landscape. This cross-cultural and cross-disciplinary integration can be seen as an act of
"queering" that contests conventional interpretations of “Chineseness,” revealing it to be a
mutable, complex identity rather than a fixed, rigid construct.
In examining the art of Lu Yang, it becomes clear that traditional and modern ideas of
“Chineseness” interact in complex ways, a dynamic that can be fruitfully analyzed through Arjun
Appadurai's framework of “scapes"32.
Hong Wu has detailed how Chinese contemporary art navigates a landscape filled with
local and global influences, thereby continually redefining what Chinese identity signifies in
modern art33. As this thesis aims to argue, the works of Lu Yang vividly illustrate these evolving
paradigms.
32 Appadurai, “Modernity at Large: Cultural Dimensions of Globalization”
33 Wu, “Making history,” 80
28
Electromagnetic Brainology and Delusional Mandala are emblematic examples where
Lu Yang creates a convergence of different “scapes.” In Electromagnetic Brainology, the
“technoscape” manifests explicitly through the utilization of advanced brain-computer interface
technologies. Lu Yang employs state-of-the-art CGI animations and robotics to create an
interactive artwork that virtually engages the audience. This advanced technology amplifies the
reach and impact of the art and underlines China's rapid advances in technological fields, serving
as a microcosm for the nation's aspirational “technoscape.”
Simultaneously, the “ideoscapes” in Electromagnetic Brainology manifest through its
grounding in Taoist spirituality. Taoist philosophies often revolve around the flow of “Qi,” the
life force, and the balance between opposites. In Electromagnetic Brainology, Lu Yang
incorporates Taoist symbolism, such as the Yin-Yang and the concept of “Wu Wei,” or nonaction, to engage with broader Chinese spiritual ideologies. The characters in the artwork appear
to be in states of “Wu Wei,” existing in a balance that resonates with the Taoist idea of
harmonious action through inaction. Notice how the characters interact with the brain-computer
interfaces, which could be interpreted as modern mechanisms to manipulate or observe the “Qi.”
Similarly, Delusional Mandala integrates the “ideoscape” of Buddhist spirituality with
the “technoscape” of 3D imaging technologies. Furthermore, Lu Yang’s frequent use of musical
elements introduces “mediascapes,” pointing to the global distribution of electronic and
experimental music that influences the reception and interpretation of their works. These
“scapes” confluence is pivotal in shaping and reshaping our understanding of “Chineseness.” Lu
Yang's art does not pigeonhole “Chineseness” into a stagnant category but renders it an evolving
discursive field. Through this lens, the “ideoscapes,” “technoscapes,” and “mediascapes” in Lu
29
Yang's works can be seen as instruments used to widen the conceptual ambit of what constitutes
“Chineseness” in contemporary art. This expanded view compels us to re-evaluate the versatility
of “Chineseness,” recognizing it as an ongoing dialogue among varying traditions, ideologies,
and technological advancements.
Arjun Appadurai's concept of “ideoscapes,” or the global flow of ideologies, is a useful
theoretical tool to understand how Lu Yang's work contributes to the malleable construct of
“Chineseness”.34 At first glance, one might view their art as merely representational-- a
reflection of personal interests or cultural heritage. However, a closer inspection reveals a
nuanced engagement with broader socio-political issues integral to contemporary Chinese
identity.
For instance, their piece Delusional Mandala problematizes the tightly regulated
discourse on body autonomy and the policing of individual choices within Chinese society. The
artwork beckons the viewer to question who can define and regulate the “ideal body” in the
Chinese context through hyper-realistic simulations of medical procedures and religious rituals.
This subversion becomes particularly potent when considering how China's past and current
policies, such as the One-Child Policy or the rapid urbanization processes, have exerted control
over individual bodies and familial structures.
Moreover, their art formulates a critique of state apparatuses that manage and control
visual culture. Using technology as both subject and medium, Lu Yang unveils the political
undertones inherent in Chinese technological progress and cyber-culture. By juxtaposing
traditional Chinese symbols with contemporary global imagery, they underline the tensions
34 Appadurai, “Modernity at Large: Cultural Dimensions of Globalization”
30
between an authoritarian regime's prescribed cultural narrative and the more fluid, multi-faceted
identity generated through individual experiences and global influences.
The “Chineseness” portrayed in their artwork is not monolithic or easily categorized. It
exists in a state of continuous transformation and negotiation, challenging both Western
stereotypes and domestic dogmas. In Delusional Mandala, Lu Yang employs a hybrid visual
language that incorporates traditional Tibetan Thangka painting styles with futuristic digital
imaging. This amalgamation disrupts Western exoticizing tendencies, which may seek to
“orientalize” Chinese art, and the Chinese state's push for a singular national identity narrative.
These artistic interventions contribute to the evolving conceptual landscape of
“Chineseness,” offering a micro-level analysis of individual subjectivities and a macro-level
critique of societal norms and political structures. In works like Electromagnetic Brainology, Lu
Yang uses robot priests and biohacking to question contemporary China's normative frameworks
around spirituality and faith. Here, “religious robots” critique technological determinism and
unsettle established categories of “sacred” and “secular” within the Chinese cultural paradigm.
This analysis adds a critical dimension to the existing literature on “Chineseness” by spotlighting
the inherently political nature of art and representation in shaping and contesting collective
identities.
31
Conclusion: Lu Yang’s Cosmopublic Art Worlds
This thesis has explored the unique position of Lu Yang's work in the evolving field of
cosmopublic art—a term that refers to art that aims to address the ethical, social, and political
implications of our increasingly interconnected yet fragmented global society. Within the context
of cosmopublic art, Lu Yang's opus presents a compelling intersection of digital culture,
posthumanism, and a critique of “Chineseness,” adding layers of complexity to existing
discourses.
The generative aesthetics of the planetary age, a concept discussed in the work of
scholars like Bruno Latour, implies an urgency for art to engage in a broader cosmopolitical
discourse35. Lu Yang's work not only participates in this discourse but enriches it by introducing
distinct narrative forms and technological engagements that defy easy classification. For
example, Lu Yang’s piece Delusional World employs mixed reality to create a simultaneously
hyper-local and cosmopolitan world, weaving in Buddhist motifs, biotechnological elements, and
pop culture references.
Their engagement with diverse cosmopolitical issues establishes them as a pioneering
figure in cosmopublic art. Their works question the sustainability of fixed cultural identities in an
era of global digital interconnectedness, thereby contributing to a more nuanced understanding of
what cosmopublic art can achieve in the planetary age.
The existing scholarship on Lu Yang provides a multitude of methodological and
thematic lenses, from posthumanist theories to technological considerations and gender fluidity.
Despite these various avenues for interpretation, existing research tends to compartmentalize
these facets, thus failing to appreciate their work's rich interdisciplinarity and cultural intricacies.
35 Latour, “Facing Gaia: Eight Lectures on the New Climatic Regime”
32
For instance, while posthumanism in Western art is well-documented, its application to Chinese
contemporary art, particularly Lu Yang's portfolio, must be thoroughly explored. Additionally, as
developed by scholars like Claire Bishop and Hai Ren, the dialogue on socially engaged art
rarely intersects with the complex, transnational facets of Lu Yang’s art.
As a multi-dimensional artist, Lu Yang's oeuvre demands an integrated, interdisciplinary
approach that scrutinizes its technological, posthuman, or gender-related aspects and how these
elements interact within the broader construct of “Chineseness” in today's art landscape.
Therefore, this thesis aspires to augment existing literature by offering a holistic analysis that
interweaves these fragmented strands of inquiry. Through this comprehensive lens, this research
aims to advance a more nuanced understanding of Lu Yang's art, thus enriching the scholarly
conversation around their work and its broader implications for Chinese contemporary art and
global art practices.
33
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Transcendent hybridities: Lu Yang's interrogation of gender, technology, and "Chineseness" in contemporary
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Curatorial Practices and the Public Sphere
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