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陆扬《出道》「艺术家说 」
陆扬为此次个展《出道》中的每一张作品撰写一小段文字，将这系列创作中出现的元素——来自流行文化/亚文化的凡此种种信手拈来，由画布中展开描绘与叙述，这些颠覆好人与坏人的形象对艺术家而言只是趣味的角色扮演与幽默的戏虐模仿。BANK借此与大家分享这些趣味的段落和画作。
Lu Yang Debut Artist Says
Lu Yang writes a short descritpion for each of his works, taking visual elements from popular and sub-culture on his canvas. By subverting this dichotomy, Lu Yang tips over the balanced and the normative with a wicked sense of humor. BANK would love to share those paragraphs and painting works to everyone.
Acrylic on canvas, mixed media 布面丙烯，综合材料
曼森是作者从小的偶像，作者在初中时代首次接触玛丽莲曼森的作品，可以说玛丽莲曼森对作品长大后作品也有着深刻的影响。如果玛丽莲曼森是一个妖娆狠毒的美女蛇(美男蛇?)那么他的力量任由葫芦中火娃影分身无数个同时攻击的爆裂金刚猛火也无法摧毁!
Lu Yang began idolizing Marilyn Manson since he first encountered his works in early teens. The androgynym Manson manifests has had lasting impact on Lu Yang and his practice. In this painting, Manson becomes an enchanting, vicious snake demon, unfaltered even when it is quadrople-teamed by Calabash Brothers (popular Chinese cartoon from the 80s) and their fiery power.
Lu Yang ‘Debut' Installation View @BANK
给我也喝一口好不好ヾ(>Д<;))))......，2019Acrylic on canvas, mixed media
为何维纳斯是女性?为何这样对美的审美观念限制人们的想象?维纳斯是女神，Chhinnamasta也是女神!让女神Chhinnamasta代替维纳斯成为这幅画的主角吧!巨型骷髅怪，尼斯湖水怪也要享用Chhinnamasta女神的圣血得到神力!她既是生命的给予者也是生命的掠夺者!生死，苦乐并非二元对立，无二即是这幅作品的象征含义!
Why is Venus always represented as a voluptuous young woman? How does visual culture tame our imagination of mythologies? Venus is a goddess, so is Chhinnamasta (a Hindu nude self-decapitating, blood-squirting goddess of contradictions). In Lu’s reinterpretation of “The Birth of Venus”, Chhinnamasta replaces Venus and becomes the center of attention. She bestows upon Loch Ness Monster and monstrous skull magical power by feeding them her sacred blood. She is the giver as well as the taker of life. Kali embodies contradiction and mutuality.
Daily Life of Azazel-san 恶魔阿萨谢尔的日常，2019 Acrylic on canvas, mixed media 布面丙烯，综合材料
二次元名作《恶魔阿萨谢尔》的原型阿撒兹勒(לארזע) 在犹太传说中是堕落天使之首，第一位因背叛上帝 而堕落的天使!希伯来语「神之强者」之意，像神一样强大，完全的除去移动荒野和海洋。这样一个叛逆 的堕天使在神殿中的日常又是怎样的?灵感源于人狮那罗辛哈(Narasimha)印度教"维护宇宙之神“毗湿奴”的第四个化身!
Famed Japanese anime You’re Being Summoned, Azazel-san finds its inspiration from Azrael, the Angel of Death. In Jewish and Islamic fables, Azrael was one of the first to be exiled from heaven for his unholy betrayal. “Azrael” means godly strenghth to move land and sea. What is daily life like in the palace of the Angel of Death? In Daily Life of Azazel-san, Lu Yang gives Azrael the physicality of Narasimha, the part-lion, part-man avatar of Hindu god Vishnu.
What a Snack! 惊叫美味!炮烙美少年!2019 Acrylic on canvas, mixed media 布面丙烯，综合材料
作者的一些朋友觉得作者长得酷似动漫人物Pipimi，此作中左右对称的Pipimi形象代表作者本人。作者自小 看封神演义中对酷刑炮烙的印象极其深刻，从小吃老北京铜锅喜欢把食物贴到铜锅柱子上YY是在给食物施 以炮烙之刑。画作中作者幻想自己巨大化后用巨大老北京铜锅给美少年们施以炮烙之刑。
In What a Snack!, Lu Yang is reincarnated as Anime character Pipimi, who bears remarkable physical resemblance with the artist, and overlooks the audience in front of the painting. Pipimi performs gunning (a cruel torture technique popularized by Investiture of the Gods, a popular 16th- century Chinese novel, where the victim is chained to a incandescent metal pole and subsequently burnt to death) on beautiful young men with a boiling hot pot.
Lu Yang’s Cult of Hotties 陆扬与六芒星✡帅哥组合，2019 Acrylic on canvas, mixed media 此作中充满了作者对自心降魔的憧憬，降服的是心魔，是对青春少年美色的执着欲魔，所以画作中由几个无头健美少年组成的六芒星魔法阵，六芒星符号发源于印度教的古代宗派Tantrism教派，其主要的崇拜偶 像是男根-女阴(Lingam-Yoni)的结合体，这些健美少年组合而成的六芒星可以召唤情欲，画作中少年们的头已经被代表作者本人的不动明王形象砍去并且喷溅鲜血，即是作者希望斩断一切情欲，净化自心的向往与信心!
Lu Yang’s Cult Hotties explores a will to overcome sexual desires towards beautiful young men. Seven headless muscular young men form a Star of David – a significant Tantric symbol originates from Hinduism. Tantrism centers around the deity Lingam-Yoni, whose avatar is characterized as a hybrid of male and female genitalias. While the formation of these young, muscular men conjures lustful desires, Lu, reincarnated as Acala in the painting, decapitates them to sever his own connections to such worldly lingerings and embark on a path to celibacy.
陆扬怪兽系列持续创作中，作者时常幻想自己成为巨大化怪兽，成为哥斯拉的好朋友，在特摄世界中器世界，成为宇宙的暗黑破坏神。这几个怪兽首次出现在陆扬的大型游戏新作《器世界大冒险》中，游戏中的大部分反面角色和敌人均为怪兽化妖魔化的作者本人。而这套绘画作品是作者对自己游戏中反面角色的肖像创作。
Kaiju Lu Yang number 1/2/3 陆扬怪兽1号/2号/3号，2019 In an ongoing series, Lu Yang reincarnates himself as “Kaiju”. The Kaiju then go on to seek aliance with Gozilla and spread fear and destruction in the tokusatsu (“Japanese monster movies”) universe. The Kaiju avatars first made an appearance in Lu Yang’s lastest video game production “Worldly World Adventures”. Lu distorts and demonizes his own physical appearance to become the Kaiju and other antagonists in the game, and this work re-imagines them on 2-D canvases.
Universe Gyaru (ギャル) Kali & Earth Visual Rock Smart Acrylic on canvas, mixed media
作者钟爱千禧年涉谷109辣妹，被109辣妹们不羁的着装和态度感染，觉得他们就是现代版鲜活的卡莉女神。画作中将109辣妹卡莉化，过度的妆容和原宿系装饰，手持原宿系钺刀割下杀马特之头，留下钻石般的鲜血闪耀辉煌!彰显卡莉精神不受时空限制，突破长空，散落至宇宙的每一个角落!
Lu Yang has always been inspired by Japanese Ganguro Gyaru subculture originated in Shibuya, Tokyo in the 90s. Ganguro Gyaru, roughly translated as “demon hot chicks”, are distinguished by a dark tan and over-the-top makeup, and embody a rebelious spirit like that of the Goddess Kali. Kali, with the head of a typical Ganguro Gyaru grafted on her body, decapitates a Shamate teenager with a decorated Sickle, leaving a bloodtrail of diamonds. Long live the spirit of Kali through the beginning and the end of the universe.
Lu Yang ‘Debut' Installation View @BANK
Chili Eyes! Old Man Reading Smartphone!Acrylic on canvas, mixed media
作者一直很好奇古代大臣上朝以及道教神像手中拿着的笏板，他们禀报皇上朝廷事务的时候拿起这块笏板就像在看智能手机，翻阅智能手机中的信息来禀告皇帝，人们在拜祭道教神仙的时候抬头一看也好像看到了神仙在用智能手机查阅来拜拜的人的生平善恶一般。而最近社交媒体非常火爆的表情“地铁老人看手机”代表着手机内容的“辣眼睛”，作者将所有这些联想杂糅在了一起。
Lu Yang has been interested in the physical parallel between “Hu” panel (a small, rectangualr hand panel government officials wrote on to communicate information with the emperor in ancient China) and modern smartphone designs. What if people had smartphones hundreds and thousands years ago? What if deities used a device similar to a smartphone to find out the karma, good or bad, of the mortals to determine who goes to heaven and who doesn’t? Lu puts his answer on canvas.
Lu Yang Self Portrait: Kalipipimi 陆扬自画像#13，2019 Acrylic on canvas, mixed media在古印度史诗著作《罗摩衍那》中神猴哈努曼打开他的胸腔展示了在他心脏上的罗摩与悉多，而陆扬画作中将自己的脸嫁接到其宗教偶像卡莉女神身上，打开胸腔跳跃出的是一个竖着中指的Pipimi，这张画像的表面充满着陆扬向往利用黑暗与暴力对末世的调服，而内在又是病态萌文化对世态的幽默不屑。一副多态度符号的画作。
In the ancient Indian epic “Rāmāyaṇam”, Hanuman cuts open his chest to display the Ram and Sita on his beating heart. Taking such a folklore as inspiration, Lu casts himself as Goddess Kali – a Hindu Goddess significant in Lu’s own spiritual denomination. Kali rips her chest open, showing a Pipimi with middle fingers up. Lu Yang expresses his dystopian wish to take the world under his reign with dark violence, and his playful contempt towards the world that finds its roots in the “Meng” mordibity subculture.
Lu Yang ‘Debut' Installation View @BANK
Acrylic on canvas, mixed media 布面丙烯，综合材料
作者的狗狗Biabia表情非常忧伤，此作是作者对biabia的忧伤x2的效果的放大实验。
Lu Yang’s dog Biabia has a RSF (resting sad face). Lu doubled Biabia’s saddness in this painting.
更多关于艺术家
陆扬是一位出生以及工作于上海的多媒体艺术家。陆扬所创造对死亡、无性、精神疾病以及对真实生命形式和神灵的神经结构的幻想，通常是病态和令人震惊的。陆扬的作品形式受动漫，电子游戏和科幻的亚文化影响，其输出涵盖3D动画，视频游戏装置，全息，现场演出，VR甚至程序操作等，陆扬的作品涉及与科学家，心理学家，表演者，设计师，实验作曲家，流行音乐制作人，机器人公司和偶像明星的频繁合作。
陆扬在UCCA（北京），木木美术馆（北京），Cc 基金会（上海），Spiral（东京），福冈亚洲美术馆（福冈），Société（柏林），克利夫兰当代艺术博物馆（克利夫兰） 等场馆举办过重要的个人展览。陆扬还参加了众多双年展三年展，如：2018年和2012年上海双年展，2018年雅典双年展，2016年利物浦双年展，2016年蒙特利尔国际数码艺术双年展，2015年第56届威尼斯双年展中国馆，以及2014年福冈亚洲艺术三年展等。
Lu Yang (b. Shanghai, China) is a multi-media artist based in Shanghai. Mortality, androgyny, hysteria, existentialism and spiritual neurology feed Lu’s jarring and at times morbid fantasies. Also taking inspiration and resources from Anime, gaming and Sci-fi subcultures, Lu explores his fantasies through mediums including 3D animation, immersive video game installation, holographic, live performances, virtual reality, and computer programming. Lu has collaborated with scientists, psychologists, performers, designers, experimental composers, Pop Music producers, robotics labs, and celebrities throughout his practice.
Lu Yang has held exhibitions in UCCA (Beijing), MWoods (Beijing), Cc Foundation (Shanghai), Spiral (Tokyo), Fukuoka Museum of Asian Art (Fukuoka, Japan), Société (Berlin), MOCA Cleveland (Cleveland, Ohio). He has participated in several international biennials and triennials such as 2012 & 2018 Shanghai Biennial, 2018 Athens Biennale, 2016 Liverpool Biennial, 2016International Digital Art Biennale (Montreal), China Pavilion, the 56th Venice Biennale, and 2014 Fukuoka Triennial.
陈天灼 Chen Tianzhuo 《后台男孩》Backstage BoysShow will be extended until Jan 22Last week to check it out!
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