陆扬 Lu Yang
Wrathful King Kong Core
单屏幕录像Single Channel Video
由北京公社支持Courtesy of Beijing Commune
末法时代，众生刚强难调伏，福德薄弱而业障深重，心性不定 , 忿怒本尊之威猛事业能降伏一切邪魔歪道，其大悲猛火无余烧毁一切粗暴猛厉的众生 ，表面忿怒 可怖之相，实则佛陀大悲之心，死者见之，应无所畏惧，因已无肉身，故无所伤害。
当标志愤怒的感觉刺激进入大脑时，信息首先传到丘脑 , 传入杏仁核的愤怒信息激活杏仁核，杏仁核进行加工会依次激活一系列脑结构。它们负责把神经信号转 化成愤怒的动作表达。
In Dharma-ending times, when all living things are unruly, afflicted with hubris, kindness and morality fade, evil and sin prevail, and none comprehend their true nature. The wrathful deities, beholden to their duty, shall vanquish all demons, and with their merciful fire, destroy all evil beings, leaving none behind. Though their wrathful visages may terrify, they are an expression of the Buddha’s in nite mercy.
When the dead look upon them, they need not fear, for they are not corporeal, and no harm can befall them. When the rst signs of anger reach the human brain, the information is first transmitted to the hypothalamus. This activates the amygdalae to carry out certain processes, which in turn set off a chain reaction by activating a number of other structures in the brain. These structures are responsible for transforming nerve signals into visible expressions of anger.
This project is a foolhardy attempt to superimpose religious concepts of wrathful deities onto scientific theories of the brain’s anger response mechanisms.
陆扬多年来一直痴迷于严谨的、精致的“生物”学研究，这种研究充满了矛盾:貌 似科学却又非理性;貌似优雅却具暴力，貌似现实却又非现实。这种由个人身份、 心理、身体、媒介、材质出发的探索使她成功地创造了奇特、多义、性感的视觉 形象，她精心制造了一个“现实”，她用有说服力的视觉语言阐明自己的美学观点。 在概念泛滥，计算代替直觉的今天，陆杨的态度尤为可贵，她的作品给我们带来 了清新的空气，并再次证明，有活力的艺术语言永远不会是那些貌似正确的概念、 理论的说明书。
在最新的“由......策划”系列中，中国录像艺术的开拓者，著名艺术家张培力为我 们带来了年轻多媒体艺术家陆扬的最新作品。陆扬已经成为中国新生代艺术家中 最受瞩目的一位。她使用三维动画、视频投影、详细列表、医学图注，辅以文字 和音乐，她在创新的生化艺术的领域，探索现代科学与技术的另外一面影响。她 拥有对融合与并置的非凡驾驭能力，让电击疗法与环保主题，最先进的治疗帕金 森氏病治疗方法与电子音乐、DJ 文化，都出现在了她的创作当中。
在这里，陆扬将科学原理和宗教信仰同时嫁接在了大脑的“金刚核”上——杏仁核， 一个大脑用来察觉和表达负面情绪的器官——映射了佛教中，面色忿怒的大威德 本尊。尽管其神态可怕，但这仍被认为是仁慈的化身，是佛陀无限悲悯的表现。
但是，陆扬在这里质疑:当一个人的面庞因愤怒而变得扭曲时，他是否还有可能 保持悲悯之心?带着戏谑和掌控，科学和讽刺，陆扬剖析了忿怒，迫使我们必须 承认，对于自己的人性，对于残酷与慈悲，我们仍有局限。
For some time now, Lu Yang has been obsessively, meticulously engaged in the study of biology and living organisms. But this sort of research is rife with contradictions: it is seemingly scientific but non-rational; seemingly refined but inherently violent; seemingly real and yet unreal. Lu Yang’s unique individual identity, psychology, physicality, media and materials have allowed her to successfully create a range of peculiar, provocative and often ambiguous visual images. Within this carefully- constructed reality, Lu Yang employs convincing visual language to expound on her own aesthetic point of view.
In an age when concepts proliferate and calculations take the place of intuition, Lu Yang’s attitude and approach are particularly valuable. Her works are a breath of fresh air, proof positive that dynamic artistic language need never again be a litany of seemingly “correct” concepts, nor an instruction manual of theory.
In this edition of UCCA’s long-running “Curated by...” series, pioneering video artist Zhang Peili introduces the work of up-and-coming multimedia artist Lu Yang. Lu Yang is already one of the most compelling voices in China’s new generationof multimedia artists. Using 3D animation, video projections, detailed schematics, medical diagrams, supporting text and music, she has created a brand of BioArt that explores the darker implications of modern science and technology. Her talent for juxtaposition is evident in past works that combine environmental themes with electroshock therapy, and state- of-the-art treatments for Parkinson’s disease with techno music and DJ culture.
Here, Lu Yang juxtaposes scientific principles and religious beliefs by grafting the brain’s “anger center”– the amygdala, the mechanism by which the brain perceives and expresses negative emotions – onto a Buddhist deity known as the Wrathful Vajrasattva. Despite its fearful mien, the deity is thought to be an embodiment of mercy, an expression of the Buddha’s infinite compassion. But, Lu Yang asks, is it possible to maintain compassionate thoughts when one’s face is contorted in anger?
With mischief and mastery, science and satire, Lu Yang dissects the anatomy of rage, forcing us to acknowledge the limits of our own humanity and our capacity for both cruelty and compassion.
文字由尤伦斯当代艺术中心提供 text courtesy of UCCA
Lu Yang, born in 1984, is Shanghai artist. Lu Yang graduated from the New Media Department, China Academy of Art. She specializes in the use of rigorous scientific evidence and maps for her presentation of works. Rhythm, human disease metronome, the accused, technological treatment, control of science and technology, the body out of control, among others, constitute the key words of her work.